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% "WEDNESDAY, THURSDAY AND FRIDAY EVENINGS 
JANUARY 31st AND FEBRUARY 1st AND 2ND 
AT EIGHT O’CLOCK 


COLLECTION 
~ WILLIAM T. EVANS . 
. ae ON VIEW _ 


AT THE AMERICAN ART GALLERIES 


Bec): From WEDNESDAY, JANUARY 24TH, UNTIL THE First Day oF SALE, INCLUSIVE 
eal.) ! 


CATALOGUE ay 
| 2 seal 34 
AMERICAN PAINTINGS 


BELONGING TO 


WILLIAM T. EVANS 


TO BE SOLD AT UNRESERVED PUBLIC SALE 


AT CHICKERING HALL 


FIFTH AVENUE AND EIGHTEENTH STREET 


On WEDNESDAY, THURSDAY AND FRIDAY EVENINGS 


~ JANUARY 31ST, AND FEBRUARY IST AND 2D 
aman 


cmt EIGHT (O'CLOCK 


ON EXHIBITION DAY AND EVENING 


From Wednesday, January 24th, until the first 
day of sale, inclusive 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE, SOUTH O° 
THOMAS E. KIRBY AMERICAN ART ASSOCIATI O 
Auctioneer Managers 
oe 
NEW YORK al 
meat oe Sv & 
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Press of J. J. Little & Co. 
Astor Place, New York — 


Introduction 


SOME years ago, when Mr. W. T. Evans resolved to sell all his 
- pictures of European make, it was with a definite perception of 
the fact that American art had emancipated itself from foreign 
trammels and entered on a career of its own, expressing Ameri- 
can thought and reflecting American nature. 

He sold every European picture he possessed and devoted 

: “himself exclusively to native art. 
i - At that time our artists of the first rank were for the most 
part landscapists and marine painters. Mr. Evans bought 
judiciously, opening his mind to the beauty of American 
“scenery as it was perceived by Homer D. Martin, Winslow 
Homer, George Inness, Wyant, Minor, Murphy, and Ranger, 
without failing to recognize the charmingly original pictures 
of figure painters like F. S. Church, subtle colorists and sym- 
bolists like Albert Ryder and George Fuller. But as his acquisi- 
tions overflowed the gallery, invaded the drawing-rooms and 
halls, occupied every wall of dining-room and vestibule, and 
encroached on the upper chambers of his home, he perceived 
that while a large part of his collection was perforce hung where 
the light was unfavorable, other vistas were opening in Ameri- 
-can painting, other forces were at work which he had helped 
to rouse ; he found himself face to face with a dilemma he 
could only solve by parting with his collection and starting 

afresh. 

By generous purchases, by founding prizes, by helping and 
instituting loan exhibitions at clubs, he had aided as scarcely 
another collector the evolution of American figure work. ‘This 

5 


comparatively recent phenomenon in American painting so 
fascinated him that he resolved to devote himself more com- 
pletely to figures than to landscape. Not that he has proposed 
to himself restrictions, not that he is determined to exclude 
from his next collection masterpieces by American landscapists, 
but that he will henceforth clothe the more generous wall- 
spaces in his new and larger home with figure pieces in much 
larger proportion to the landscapes. 

The collector follows while he helps to shape the evolution 
_ of American art. 

People ask why collectors sell all their pictures at once 
instead of weeding out the canvases they can best spare. 

On the one hand, because by so doing they establish invidi- 
ous distinctions among living artists whom they admire and 
whose friendship they cherish ; on the other, because the public 
is suspicious and regards the weeding process as tantamount to 
an acknowledgment that the canvases sold are inferior. ‘The 
collector would be forced to part with them at prices which 
would be unjust to himself and damaging to the reputation of 
the artists affected. 

It is well to remember that a collector of American pictures 
occupies a peculiar position and may properly be regarded as a 
benefactor, for he keeps American picture-craft alive in the face 
of a severe competition with foreign painting. It used to be 
said that landscape was the only field for native painters; but 
the upspringing of figure men, of portraitists of the first rank, 
of mural painters and masters in stained glass, who meet and 
beat Europeans on their own ground, leaves that statement in 
the air. Yet the old scoff has vitality because it takes a long 
while for the public, timid, and too preoccupied to inform itself, 
to adjust its opinions to new facts. 

A collector like Mr. Evans, who, since he sold his European 
pictures, has been engaged in a constant struggle to convince 
the indifferent and prejudiced of the power and individuality to 
be found in American art, may fairly ask that he should be the 
judge of what is the best course to take in order to continue the 
good work. Let others have the pleasure of owning these 


pictures which he has enjoyed so long, and let him employ the 
6 


money they may bring in some way that will give native paint- 
ing another lift. He has given proofs of disinterestedness ; he 
has spent generously to uphold our art; it is but fair that 
the American public and American artists should uphold him. | 

The immediate influence on his environment of a collector 
of this stamp lies upon one’s hand; it is patent to the whole 
world. 

Let us pass by the pleasure which he has given to thousands 
when lending his pictures to clubs, or for charitable purposes, 
or when entertaining his friends, and consider the assistance he 
has given to the artists of his city and country by the mere 
fact of seeking out those workers whom he considered most 
promising. 

There is scarcely a man in the country who has more con- 
sistently and continuously distributed the stream of his pur- 
chases among artists of ability who sorely needed assistance and 
were worthy to be helped ; men who were handicapped by the 
timidity of a public misled in many ways. In the word patron 
there is far too much suggestion of condescension and alms- 
giving. Ido not mean that Mr. Evans has been a patron of 
art in the vulgar sense, which suggests the idea of charity to the 
persons from whom his pictures were bought. No; he was 
obtaining from the pictures much. While paying, be it said to 
his credit, always a fair and reasonable price, he bought far 
more than the money value, for he was obtaining education in 
esthetics, and acquiring treasures that were not only mellowing 
to his own soul, but proving a constant joy to those about him. 

The benefits flowing from the gratification of his lifelong 
taste have not remained within the circle of his friends and 
fellow clubmen and the artists whose works he has acquired ; 
they spread abroad into far wider fields. Consciously or un- 
consciously, he has been acting the part of a patriot, in that his 
exclusive passion for works by American artists has materially 
aided in giving the latter heart and in stirring hope among our 
painters generally ; they have realized that here, at least, was a 
man who recognized what was noblest in their work, one who 
felt for the glory which great painting sheds upon the country. 

Mr. Evans has a very individual impression of art, and in the 

7 


choice of his pictures evinces a special taste for the higher sort 
of landscapes and of ideal figure pieces. The examples of 
George Inness, Winslow Homer, Homer Martin, Albert Ryder, 
and others, comprise pictures that reach a higher mark than we 
can find among living landscapists in Europe. Indeed, the 
average of Mr. Evans’s collection is very high. So true is this. 
that it would hardly be possible to go astray in purchasing any 
one of his pictures, although it is a fact that the self-education 
of Mr. Evans in picture-collecting has caused him to buy with 
ever better taste and surer judgment, so that the latest acquisi- - 
tions are, as a rule, far more beautiful than the earliest. 

Take, for example, F. S. Church. Mr. Evans began with a 
picture or two that pleased him, but soon perceived that 
Church’s individual color scheme and way of looking at nature 
afforded a chance for wider application. One by one the walls 
of a drawing-room blossomed out with paintings by Church, — 
and the stained glass in the windows of the room were after 
Church’s design and coloring. Here was an entire apartment, 
the chief decorations of which were the work of an American — 
painter, while the rest of the interior was subordinated to them. 
It was fulfilling the prophecy as to F. S. Church made by Z’A7# 
of Paris many years ago in certain articles that hailed him as 
one of the most original of American painters. Church has 
vibrated between his sportive and his serious pictures; both 
kinds are found in the Evans collection ; but he remains always 
reserved and gentle in the expression of his thought and color- 
feeling. The collector has been sympathetic with all his shades 
of mood. And so with George Inness. He has the finest 
pieces and the less intense from that ‘‘ old master ’’—for Inness 
has already become one. ‘Take the “ Nine O’Clock”’ for the 
warm, luminous American moonlight, when you seem to feel the 
atmosphere, though no wind is stirring; Inness has made you 
feel the beauty of a July night. Or take the “ Winter Morning 
at Montclair.” In that you recognize the clear, cold atmos- 
phere of early spring, when distant hills look near and the very 
Clouds in the sky have sharp, definite edges. Or, again, the 
“Sunset,” where the painter has caught the ineffable glory of 
the scene as no words could describe it. 

8 


a 


Nor is it for Inness alone that this collector’s choice was 
certain; he has the most rounded, harmonious, finished speci- 
men of J. F. Murphy, a noble landscape if ever there was one. 
And his Wyants bear out the admiration that artist won toward 
the close of his career for the reserved yet natural way he 
painted distant hills and dropping cloud and driving mist and 
moorland and Adirondack forest. George Fuller has exquisite 
representatives. From Will H. Low he secured one of his 
most graceful minor works, the picture that tells the fable of 
the discovery of plastic art in Greece through the invention 
of a loving girl. Frederick Kost, one of very few artists who 
have realized the beauty of Richmond Borough and painted it 
with the enthusiasm of a lover, has won Mr. Evans’s regard. 
George H. Bogert’s scene from the neighborhood of Delft is an 
epitome of Holland painted with a master’s hand. Probably 
no collector has finer specimens of Robert Minor and Henry 
W. Ranger, especially a moonlight on water by the former and 
a noble group of oaks in sunshine by the latter. Of Albert 
Ryder’s work the largest is a marine by moonlight with drifting 
boat, in which the artist has chanted in the language of color a 
song that is all his own. But this is not the place to usurp the 
office of the descriptive part of the catalogue. 

What is pleasant to remember is the fact that this collector 
is no person of leisure, the inheritor of a fortune, but a man of 
successful, strenuous business life, to whom his pictures are dis- 
traction from the confining work of managing the affairs of a 
great firm. Fortunately the time is past when business life was 
sO narrow, business men as a mass were so limited and pre- 
judiced that a picture-buyer was regarded by other men of 
affairs askance. Wider horizons and the hard facts of success 
in pictures as investments have changed all this. It is an 
agreeable thought to consider the pleasure Mr. Evans has had 
in acquiring this collection, nor is it marred by feeling that 
the pleasure will end here; on the contrary, the present sale 
is merely an incident in the career of Mr. Evans as a collec- 
tor of American art, which may be exciting, but is very far 
from final. 

CHARLES DE KAY. 


ee 


Biographical Notes 


MARIA J. C. A’BECKET 


HE chief characteristics of Miss A’Becket’s landscape. 
work are breadth of handling and puissant color. Her 
pictures are individual in style and synthetic in treatment. She 
is an irregular contributor to New York exhibitions, but has 
shown her work in Boston, Baltimore, Philadelphia, and Wash- 
ington. Miss A’Becket studied in the White Mountains and 
the Adirondacks with Homer Martin in 1865, and in 1875-78 
worked with William Hunt in Boston. During this latter period © 
she spent a summer in France with Daubigny. She was born > 
in Portland, Me., and has been a resident of New York for the 
past decade. 


RALPH ALBERT BLAKELOCK 


ee son of a physician, R. A. Blakelock, born in the city of | 
New York in 1847, was intended by his parents to follow 
the medical profession, but his sympathy for music and paint- 
ing caused him to work out his own destiny. He hadno means 
of securing instruction in these arts, and a trip to the far West- 
ern country, where he studied the Indians and, in his own self- 
taught way, attempted to depict them, constituted about all of 
his preliminary preparation for his career as a painter. His 
works are notable for rich, vibrating color and for a mysterious 
13 


charm that is apparently due to the symphonic point of view in 
the consideration of nature arising from his innate love of music. 
Mr. Blakelock’s studio has always been in New York, but at 
present he has ceased painting. 


GEORGE H. BOGERT, A.N.A. 


Ao, ten years ago the landscape work of George H. Bo- 

gert began to attract attention in the New York exhibi- 
tions. It was at the outset tentative, but bore evidence on its 
face of its sincerity and promise. A few years later it was 
plain that the artist was rapidly approaching that completeness 
which marks the work of ripe reflection, and for several years 
now Mr. Bogert’s pictures have testified to the maturity of his 
style. Preserving in his compositions that truth to facts in 
_ nature which is essential to all good art, he has become a pro- 
~ nounced synthesist, seeking always to secure unity of ensemble 
and rarely striking a false note in his efforts to produce a har- 
monious arrangement of color and effect. His ability in this 
direction is strikingly exhibited in his powerful composition 
“Sea and Rain,” and in many other pictures the scope of his 
artistic vision may be seen to be both wide and comprehensive. 
Mr. Bogert was born in New York in 1864, and first studied 
art under Thomas Eakins. He went to France in 1884, and 
after painting landscapes for a time at Grez, near the Forest of 
Fontainebleau, journeyed to Paris to become a pupil of three 
famous masters, Raphael Colin, Aimé Morot, and Puvis de Cha- 
vannes. He returned to New York in 1888, and has been 
a constant exhibitor since that time at the Society of Ameri- 
can Artists and an occasional one at the National Academy. 
He is a member of the former body, and was awarded the 
Webb Prize at its exhibition of 1898 for his picture “ Evening, 
Honfleur.” In his summer journeys abroad he has painted, at 
Etaples, on the French coast, with Boudin, but for the past three 
or four years has visited Holland. In that picturesque country 
he has found sympathetic material for many of his recent works. 

14 


At the Academy, in 1899, he was awarded the First Hallgarten 
Prize, and in 1892 received an honorable mention at the Penn- 
sylvania Academy. His picture “From St. Ives to Lelant” is 
in the permanent collection of the St. Louis Museum. 


GEORGE H. BOUGHTON, N.A., R.A. 


| es in England in 1834 but brought to this country when 

he was three years of age, George H. Boughton is gen- 
erally claimed as an American artist, for the first part of his 
artistic career passed in Albany, N. Y., and in New York City. 
In 1860 he went to Paris and studied with Edouard Frére. In 
1863 he obtained his first success in England. He has been a 
resident of London since that year. Mr. Boughton was elected 
a Royal Academician in 1898, and has been a Member of the 
National Academy since 1871. ‘The subjects of his pictures 
include episodes in the colonial life of America, English figure 
and landscape motives, and Dutch character and manners. His 
style is unaffected and simple, and his pictures enjoy wide 


popularity. 


FREDERICK A. BRIDGMAN, N.A. 


ANK-NOTE engraving was the apprentice work in art of 
Frederick A. Bridgman, who, born at Tuskegee, Ala., 

in 1847, was brought when a boy to Brooklyn, where his 
family became residents. In 1866 he went to Paris and be- 
came a pupil of M. Géréme. His career from the time he left 
the studio of this celebrated master has been a brilliant one, 
marked by many official honors in French and other foreign 
exhibitions, and varied by occasional visits to the United States, 
where he has shown his latest productions and executed com- 
missions for portraits and mural decorations. His residence 
and studio are in Paris, where he has long been a prominent 

15 


figure in the artistic and social life of the American colony. He 
is a Chevalier of the Legion of Honor, and received a gold 
medal at the Paris Exposition of 1878. Many of his pictures 
have Oriental subjects. He is an accomplished draughtsman, 


and a colorist of refinement and veracity. 


JOHN B. BRISTOL, N.A. 


Bee landscapes painted by J. B. Bristol are favorably known 
to every collector of American art in the United States, 


‘and in the exhibitions at the National Academy, New York, 
-and in those in other prominent cities none are more popular. 


He is a landscape painter pure and simple, and his subjects are 
generally placid but impressive views of New England scenery. 
A lake framed in by verdure-covered hills, its wide expanse 
reflecting a sky of brilliant atmospheric quality, is one of his 
favorite motives. Mr. Bristol was born at Hillsdale, N. Y., in 
1826, and is self-taught. He became an Associate of the 
Academy in 1861, and was elected an Academician in 1875. 
His picture at the Paris Exposition of 1889 was awarded an 
honorable mention. Crisp, direct execution and a fine feeling 
of atmosphere are qualities that characterize his work. 


MARIA BROOKS 


i Weiner nace to the public exhibitions know the work of Miss 

Maria Brooks chiefly as small figures of children and 
genre groups, which are invariably striking because of some 
bright bit of color forming a point of concentration for the 
effect of the whole, and notable for solid qualities of drawing 
and modelling. Her genre subjects are such as please in the 
presentation of the story, and the manner of depicting them 
satisfies the esthetic sense by its directness. As a painter of 


portraits, Miss Brooks came to New York in 1886 from Lon- 
16 


nha 


don with a well-established reputation which has been sustained 
by her work here, and she has accompanied her successful per- 
formances in this field of art by an interesting series of “ ideal 
heads,”’ a number of which have found favor in color repro- 
. ductions. Born at Staines, Middlesex, England, Miss Brooks 
was a pupil of the South Kensington schools and of the Royal 
Academy. She has been awarded various gold and silver 
medals at London and colonial exhibitions, such as those at 
the Crystal Palace and Melbourne. 


JOHN G. BROWN, N.A. 


Te is as a painter with “a specialty,” the depiction of the 

street gamin, that J. G. Brown is most widely known by 
the American people; and while he enjoys the highest popu- | 
larity in this particular line of subject, it must not be forgotten 
that his achievements in other fields of genre have been equally 
meritorious. Scenes of home life indoors and out of doors, in 
the fisherman’s cottage or on the farm, have often tempted his 
brush, and his rendering of typical figures amid such surround- 
ings is as happy and as truthful as that of the newsboy and the 
bootblack. His story is always well told, and his execution is 
frank and comprehensive. No better illustration of his capabil- 
ities in these respects can be found than “ ‘The Longshoremen’s 
Noon,” with its sixteen or seventeen figures, each one typical 
of his estate, and with individual traits marked in every line of 
face and figure. 

Mr. Brown was born at Durham, England, in 1831. His 
first art instruction was received at Newcastle-on-Tyne and at 
the Edinburgh Royal Academy. After painting portraits for a 
time in London he, in 1856, came to America, and opened a 
studio in Brooklyn. In 1860 he removed to New York, and two 
years later exhibited at the National Academy. He was elected 
an Associate in 1862, and Academician in 1863. He is presi- 
dent of the American Water Color Society. 

17 


GEORGE DE FOREST BRUSH, A.N.A. 


OON after his return from Paris, where he had been for 
five or six years a pupil of M. Géréme at the Ecole des 
Beaux-Arts, George de Forest Brush went to the Westem ter- 


ritories and studied the red man. ‘The pictures he produced 


as a result of his study, including such masterly compositions 


as ‘‘ Before the Battle,” ‘“‘ Mourning Her Brave,” “The Indian 


Hunter,” and “The Silence Broken,” give evidence of the 
thoroughness of his methods and of the capacity of the artist 
to identify himself with the spirit of whatever subject he may 
choose for pictorial representation. Lofty conception, admi- 
rable composition, remarkable insight into the characteristics of 
his subjects, and rare skill in simple pictorial expression char- 
acterize the whole series of pictures of Indian life and heroics. 
These qualities were again shown a little later in a series of 
pictures with Aztec themes, and are plainly apparent in the 
work to which he at the present time devotes his energies. 
Beginning with the “‘ Mother and Child,” exhibited several 
years ago, Mr. Brush entered upon a pseudo-classical period in 
his art, and has produced a number of beautiful compositions, 
consisting in each case of, several figures harmoniously grouped 
and marked in execution by superlative qualities of drawing. 
His color schemes in these pictures are usually subdued and 
rich, the general aspect of the canvases suggesting rather the 
work of some master of the Italian Renaissance than that of a 
painter of to-day. 

Mr. Brush was born at Shelbyville, Tenn., in 1855, and re- 
ceived his first art instruction in the schools of the National 
Academy of Design under Professor Wilmarth. He is an Asso- 
ciate of the Academy and a Member of the Society of Ameri- 
can Artists. 


W. GEDNEY BUNCE 


VE where he has long made his home, has furnished 
most of the subjects for the pictures by W. Gedney 


Bunce, whose sympathetic treatment of the beautiful color 
18 


ee ee ee 


“effects to be found in and about the “ Queen of the Adriatic” 
has: charmed and satisfied many an admirer of her stately 


beauty. Born at Hartford, Conn., he first studied with William 
Hart, N.A.; later on with Achenbach and P. J. Clays, at Ant- 
werp. Though he has from time to time occupied a studio in 


_ New York, he has lived the greater part of his life in Europe. 
Mr. Bunce has frequently exhibited in New York and other 
«American cities, at the Paris Salon and Universal Expositions 


-and in London. His pictures are celebrated for delicate but 


effective color and picturesque composition. 


ad 


WILLIAM MERRITT CHASE, N.A. 


‘ T X J] HEN he appeared as an exhibitor at the National Acad- 


emy in 1877 the pictures of William M. Chase showed 


. the influence of his schooling in Munich, for his canvases were 


a 


characterized by the tonal quality then so highly valued at the 
Bavarian capital. A few years later the work of the modern 
French painters, as well as his contact in New York with fellow 


artists trained in the Paris academies, seemed to have lightened 


his palette, and a much higher key and a more determined 


- realistic purpose were apparent in his compositions. ‘There- 


upon begun that charming series of transcripts of picturesque 
places in the New York and Brooklyn parks, along the water 
fronts, and in the squares and boulevards which did so much 
to put Mr. Chase before the public as a somewhat literal but 
always thoroughly artistic and captivating interpreter of nature. 


' Meanwhile his portraits gained for him a leading position in 
- that high field of art, and his still-life pictures brought him a 


reputation as a master of technical means. In more recent 
years his landscapes and shore views near Shinnecock Hills, 
where he conducts a flourishing summer school of art, have 
given further proof of the versatility of his talent. As much at 
home in the use of pastel as of oil-color, a water-color painter 
of great suggestive skill and a forceful etcher, Mr. Chase holds 
a place in American art commensurate with his rare ability, and 
1g 


as an instructor his counsels are sought not only in the metro- 
politan schools, but in those of Philadelphia and four or five 
other large cities, even as far west as Chicago. 

William M. Chase was born at Franklin, Ind., in 1849. A pupil 
of B. F. Hayes, of Indianapolis, he was a local portrait painter 
for a time, but came East to study under J. O. Eaton and in 
the schools of the Academy in New York. In 1872 he went to 
Munich. His masters there were Alexander Wagner and Karl 
Von Piloty. His studies in the great art museums have never 
been given up, and his travels include sojourns in Spain, the 
Low Countries, France, England, and Italy. Mr. Chase was 
for ten years president of the Society of American Artists, is a 
National Academician, elected in 1890, and a Member of the 
American Water Color Society. ‘The honors of his career in- 
clude medals at the Paris Exposition of 1889, at Munich, Phila- 
delphia, and other art centres, honorable mention at the Salon, 
and the Shaw Fund Prize at the Society of American Artists. 


FREDERICK S. CHURCH, N.A. 


Ne imagination sometimes inclining to the idyllic, again to 

the humorous, and at other times purely poetical distin- 
guishes the compositions of F.S. Church. His first popularity 
was gained by his drawings in black and white, which were 
always characterized by some original fancy very personally 
expressed, and his more serious work in color following these 
successes exhibits in a multitude of ingenious conceits the 
original quality of his artistic temperament. His pictures both 
in oil and in water color are marked by schemes of color in 
which delicacy of tint, harmony of diverse elements, and skilful 
weaving of the various hues into a whole of consistent decora- 
tive effect are the salient features. Realistic in actual treatment, 
his “ Pandora,” for instance, is most notable for the grace of 
pose in the figure and the charming lines of the other parts of 
the composition. “St. Cecilia’ and “Madonna of the Sea” 


illustrate his entirely personal interpretation of familiar subjects, 
20 


while “‘ Una and the Lion,” “The Lion in Love,” and “ Beauty 
and the Beast” are examples that come readily to mind of his 
charming realization of themes purely fanciful. 

Born at Grand Rapids, Mich., in 1842, and engaged in busi- 
ness for a number of years, Mr. Church found himself at length 
irresistibly drawn to the career of an artist. The basis of his 
artistic training was acquired in the schools of the Chicago 
Academy and the National Academy of Design, but his develop- 
ment has been of the most independent, untrammelled sort, 
taking character wholly through persistent, searching study of 
nature and growing in individuality under his constant efforts to 
express without thought of others’ methods the hundred shapes 


‘conjured up by his fertile fancy. Mr. Church is known as a 


painter of animals with a thorough knowledge of his subjects, 
and enjoys a high reputation as an original etcher. He is a 


“National Academician and a Member of the American Water 
Color Society. 


WILLIAM A. COFFIN, A.N.A. 


PEW American painters of the younger set are better known 

than William A. Coffin, for he has been contributing to 
the New York exhibitions for the last fifteen years, and his 
name has been prominent as a critic of art in the monthly and 
weekly press. Born at Allegheny, Pa., in 1855, he graduated 


at Yale in 1874, and after a year’s study at the Yale Art School 


he passed five years in Paris, working under the superintend- 


ence of Bonnat. Coffin is best known as a landscapist, but 


his first appearance at the Salon in 1879 was as a painter of 


genre. Gradually, however, the fascinations of landscape led 


him to confine himself more and more to a field peculiarly 

American, and his finest pieces have been summer landscapes 

with thunder-storms passing over rolling pastures, night views 

in which a few stars burn mysteriously, and winter scenes with 

woodland and fields covered with snow. His painting has gone 

hand in hand with art criticism and lectures on art. At the 
21 


Academy of Design in New York he carried off the second 
Hallgarten Prize in 1886 with his “ Moonlight in Harvest” ; 
five years later he took the Webb Prize for landscape at the 
Society of American Artists with his “ Rain,” which may be seen 
at the Metropolitan Museum. Meantime he received a medal 
of the third class at the Paris Exposition of 1889 for “ Early 
Moonrise.” More recently, in 1898, the Art Club of Phila- 
delphia awarded him its gold medal for ‘‘ Sunset in the Somerset 
Valley, Pa.,” which marks high tide in his career as a land- 
scapist. Mr. Coffin has been very prominent in the art life of 
New York on the committees of the Society of American Art- 
ists; he has been a Vice-President, and is still a Member, of 
the Architectural League of New York, has acted as First Vice- 
President of the Municipal Art Society of New York for three 
terms, is an Associate of the National Academy of Design, and 
a Member of the National Arts Club and the Society of Land- 
scape Painters. His fellow artists have used his talents as an 
organizer, and whenever there is an important exhibition in New 
York to further some charity or advance the cause of art his 
services are sure to be enlisted. While his magazine articles 
have appeared in the Cenfury and Scribner’s, with occasional 
essays in Harper's Weekly, he has contributed many criticisms 
to the Evening Fost and the ation of New York. At present 
he is titular art critic for the New York Suz. 


BIOGRAPHY BY C. DE Kay. 


SAMUEL COLMAN, N.A. 


Baas subjects of the long list of pictures painted by Samuel 

Colman, both in oil and water color, bear witness to the 
catholicity of his taste in art and to the wide extent of his travels. 
While still a lad he made sketches of the harbor and shipping in 
New York and the scenery of the Hudson River and Lake 
George. He has lived abroad a good deal since he first went to 
Europe in 1860, when he studied two years in Paris and in Spain, 
and the subjects of many of his best known works have been 
found in Italy, France, Switzerland, Spain, and Morocco. Of 


22 


late years he has lived and painted at Newport, R. I. Whatever _ 
his theme, he invests his composition with a picturesque quality 
that makes it attractive, and his technical methods are always: 
convincing. Mr. Colman’s pictures are especially notable also 
for rich and harmonious color. He was born at Portland, Me., 
in 1833. He was one of the founders of the American Water 
Color Society and its first president. He was a founder Member 
also of the Society of American Artists. At the age of twenty- 
seven years he was elected an Associate of the National Academy, « 
and in 1862 became an Academician. 


KENYON COX 


aes years ago our exhibitions contained more pictures of 
the nude than now, a fact that is explained probably by 
the important commissions for mural painting given out of late 
which have absorbed the creative power of many of our most 
accomplished figure painters who are not devoted to portraiture. 
Kenyon Cox is one of those who was formerly a frequent con- 
tributor of works having the nude for subject, and an easel 
canvas by him of the sort is now a rarity. His skill as a draughts- 
man and the fine decorative quality of his composition have 
been long recognized. His portraits, notably some small ones, 
are considered among the best produced by the recent American 
school, and his ventures in landscape and out-door subjects have 
been received with cordial approval. As a designer and illus- 
trator Mr. Cox’s work is widely known and generally conceded 
to belong in the first rank, because of its intellectual, scholarly 
composition, and, as in his nude subjects, its masterly knowledge 
of the figure. ‘The pictures for Rossetti’s ‘The Blessed Dam- 
ozel”” stand as his most important work in black and white. 
His mural paintings in the Congressional Library, Bowdoin Col- 
lege, and the new Appellate Court building in the city of New 
York are chief among his creations in the field of art. 
Kenyon Cox was born at Warren, O., in 1856, and began 
the study of art at Cincinnati. He continued his studies at the 
Pennsylvania Academy of Fine Arts, and in 1877 went to Paris, 


23 


where, after a year in the atelier of M. Carolus-Duran, he be- 
came a pupil of M. Géréme at the Ecole des Beaux-Arts. His 
sojourn in France lasted until 1884, when he settled in New 
York. Hehas been one of the principal and most successful of 
the instructors at the Art Students’ League ever since that time, 
and is well known in the literary world as a writer on art topics 
and a reviewer of authority with a direct and forcible style. 
Among the honors he has received at exhibitions are two 
medals at the Paris Exposition of 1889. He is the vice-presi- 
dent of the Society of American Artists, and has been an active 
worker in its development since his election as a member in 1882. 


BRUCE CRANE, A.N.A. 


WA PUPIL of Wyant and depicting almost nothing but native 


subjects, Bruce Crane, in the twenty years since his 
artistic career began with the exhibition of a picture at the 
Academy in 1878, has made a place for himself in the front 
rank of American painters of landscape. His work is natural- 
istic in style, and his pictures interpret faithfully and with much 
wholesome poetic feeling the varying aspects of nature that most 
forcibly appeal to him. His transcripts of spring and winter 
effects have perhaps brought him his greatest popularity. His 
methods are singularly frank and direct, and his cclor schemes 
exhibit delicacy of tint and forcefulness of effect. - Mr. Crane 
was born in New York in 1856. He is an Associate of the 
National Academy and a Member of the Society of American 
Artists, the American Water Color Society, and the Society of 
Landscape Painters. He received the Webb Prize. at the 
Society of American: Artists in 1897. 


CHARLES COURTNEY CURRAN, A.N.A. 


ix PROLIFIC artist, but one whose work is always marked 
by careful, sometimes elaborate, finish, C. C. Curran is 
at the present day widely known to the art-loving public of 


24 


America. His career, however, has not been a long one, for 
his first appearance as an exhibitor was at the National Academy 
in 1883. Five years later he secured one of the Hallgarten 
Prizes with his picture “‘A Breezy Day.” ‘The same year he 
was elected a Member of the Society of American Artists, and 
soon after a Member of the American Water Color Society. A 
few years ago he became an Associate of the Academy. Mr. 
Curran was born at Frankfort, Ky., in 1861, and began his art 
studies in Cincinnati. In 1881 he came to New York and 
worked in the schools of the Academy and the Art Students’ 
League. During a sojourn in Paris later on he had as masters 
MM. Lefebvre, Doucet, and Benjamin-Constant. He is a skil- 
ful draughtsman and a colorist of comprehensive scope. His 
subjects include domestic genre and out-door life, ideal groups 
and figures, and compositions in which his imagination takes 
free play in the depiction of the fanciful realms inhabited by 
the fairies. His knowledge of form is evident in all of his 
creations, and his pictures possess the attractive quality of 
charm. 


ELLIOTT DAINGERFIELD 


| ea DAINGERFIELD, who was born at Harper’s 

Ferry, Va., and spent his boyhood in North Carolina, came 
to New York to begin the study of art in 1880, when he was 
twenty-one years of age. He worked in private studios, and 
for a short time at the Art Students’ League. About 1886, 
when he established himself in a studio in “The Holbein,” he 
came to know George Inness, who occupied adjoining studios, 
and though he was not in the exact sense of the word a pupil 
of Inness, he had the benefit of his counsels, and built up his 
present technical method from study of the master landscape 
painter’s processes. Mr. Daingerfield was on intimate terms 
with him, and is proud to say that he owes more to the interest 
Inness showed in his work than to any other influence. ‘“ My 
Lady Rhododendron,” ‘“ Madonna and Child,” and “ Christ in 
the Wilderness,” three of Daingerfield’s capital works, show in 

25 


the treatment of problems concerning color and illumination 
the distinctive qualities of his art. He is an imaginative painter — 
with a strong sense of decorative beauty, and he subordi- 
nates realistic facts to the effect of the ensemble. His color 
schemes are opulent, and the concentration of light on the 
chief object of interest is a notable feature of his compositions. 
Mr. Daingerfield is one of the lecturers on composition at the 
Art Students’ League, and has charge of the drawing classes in 
the Philadelphia School of Design. 


ARTHUR B. DAVIES 


Je Cus or five years ago American amateurs began to make 

the acquaintance of Arthur B. Davies as a painter, whose 
work differed radically from that of most young artists in that 
it seemed to be quite out of touch in its characteristics with the 
approved methods of the schools. His work has continued to 
be suz generis, and may easily be picked out in any collection 
of pictures by reason of its individuality of conception, and its 
treatment as to color, which somewhat resembles the effects 
wrought by age on the pigments of the old masters. Mr. Davies’s 
subjects are usually fanciful, and his pictures, quite lacking in 
strictly academic qualities, possess merits of their own much 
appreciated by a numerous company of admirers. He was 
born in Utica, N. Y., in 1862, and received art instruction in 
that city, Chicago, and New York. He has travelled in many 
foreign countries. 


M. F. H. DE HAAS, N.A. 


F. H. DE HAAS, one of the best known of all American 

* marine painters, was born at Rotterdam in 1832. He 

was a pupil of the Fine Arts Academy of his native city. He 

went to London in 1851, and remained a year, afterwards 

painting on the Dutch coast and studying with Louis Meyer at 
26 


— 


The Hague. In 1859 he settled in New York, was elected a 


‘National Academician in 1867, and was one of the founder 


members of the American Water Color Society. His “ Rapids 
above Niagara’? was shown at the Paris Exposition of 1878. 
He died in New York in 1895. Mr. De Haas’s pictures are 
characterized by vigorous execution, and are effective in their 
transcriptions of picturesque phases of nature, 


FRANK DE HAVEN 


Bey at Bluffton, Ind., and coming to New York to study 

under George H. Smillie, N.A., Frank De Haven has 
been well known to the art public of the metropolis for the past 
ten years as a consistent, truth-loving painter of landscape. His 
color schemes are attractive, and his pictures are marked by 
much individuality of style. Autumn foliage and evening effects 
are the themes he uses in most of his compositions. His work 
is frankly naturalistic, and his methods are simple and unaffected. 


HERBERT DENMAN 


A PICTURE with three life-size figures, called “The Trio,” 

when exhibited at the Paris Salon of 1886, gained an 
honorable mention from the jury of award for Herbert Den- 
man. He had commenced his art studies at the Art Students’ 
League in New York, and continued them under M. Carolus- 
Duran in Paris. He opened a studio in New York in 1887, and 
has been since then a regular exhibitor at the Society of Ameri- 
can Artists, of which body he is a member, and at the Academy. 
The nude has largely engaged his attention, though a portrait 
from his easel appears from time to time in the exhibitions. 
His drawing is graceful and accurate, and his color schemes 
show refinement and a fine feeling for decorative quality. Mr. 
Denman was born in Brooklyn, N. Y., in 1855. 

27 


LOUIS PAUL DESSAR, A.N.A. 


Pee feeling and technical force are in the happiest 
manner combined in the work of Louis Paul Dessar. 
His pictures of night and evening, generally with a flock of 
sheep returning to the fold at sundown, or herded in the parks 
under the moonlit sky, have become familiar to exhibition 
visitors in the past few years, and an occasional portrait 
testifies to the fact that the artist’s training has been of the 
most thorough character. He began his studies at the National 
Academy in 1883, having been born at Indianapolis, Ind., in 
1867, and after three years’ work in its schools went to Paris 
to become a pupil of MM. Bouguereau and Robert-Fleury at 
the Académie Julian. A third-class medal recompensed the 
young artist for the picture he exhibited at the Salon of 1891, 
and his picture in the Salon of 1893 was purchased by the 
French Government for the State collections. The same year 
Mr. Dessar received a medal at the Chicago World’s Fair, and 
an honorable mention was bestowed by the jury at the Carnegie 
Institute, Pittsburg, in 1897 on the work shown there. The 
second Hallgarten Prize at the National Academy was awarded 
to him in 1898, and he received the first Hallgarten Prize at 
the exhibition of 1899-1900. He was elected a Member of 
the Society of American Artists in 1897, and an Associate of 
the Academy in 1899. A few years ago it might have been 
predicted with confidence that Mr. Dessar would take a high 
rank in American art. Now it is almost unnecessary to say that 
he has attained it. 


CHARLES MELVILLE DEWEY 


M® DEWEY is not a member of any of the art societies, 
and does not often appear as a contributor to their 
annual exhibitions. Self-taught, continuing throughout his 
career as a landscape painter to study nature and interpret it 
in his own way, and rounding out his art slowly but with con- 
stantly increasing individuality, he is known as one of the most 
28 


personal of all our painters. Each recurring art season brings 
in some one of our smaller city galleries an exhibition of his 
pictures, and thither the numerous admirers of his work take 
their way to note the progress of his artistic development. His 
landscapes are first of all synthetic in treatment, for he seeks to 
interpret rather than to transcribe an effect. ‘They are almost 
_ invariably tender, and their full charm impresses itself on the 
spectator only when they have been looked at long enough to 
absorb their subtile power. Such landscapes as “ Return of 
the Hay-boats,” which at the Munich International Exhibition 
of 1895 attracted the most favorable notice from foreign 
critics, convey their message with the sincerity that is inherent 
in all good art, and few can resist their fascination. Thus it is 
that Charles Melville Dewey stands in the group of American 
artists whose works are cherished for their poetical insight, and 
his pictures once taken home and lived with are reluctantly 
_ given up. He was born at Lowville, N. Y., in 1851, and first 
exhibited at the Academy in 1875. His favorite subjects are 
the misty effects of twilight and sunset along the banks of some 
slowly moving stream, a group of trees, a hill, and a lighted 
hamlet at the close of evening, the edge of some forest with 
the foliage tinged with the warm light of the setting sun, or the 
mysterious light of the pale moon in the silent watches of the 
night. To all such, and to everything that appeals to him, 
the artist brings the mature conclusion of his impressions and 
depicts his conception with depth and breadth of view. 


THOMAS W. DEWING, N.A. 


(eS EF UL and accomplished drawing and delicate quali- 

ties of color distinguish the portraits and compositions 
of Thomas W. Dewing, and no pictures by an American artist 
are more highly prized by collectors than his. Mr. Dewing 
was born in Boston in 1851, and received his art instruction at 
the Académie Julian, in Paris, under MM. Boulanger and Le- 
febvre. When he returned to the United States he first took 
up his residence in his native city, but soon removed to New 

29 


York, where he has now been for twenty years a conspicuous 
figure in the annual exhibitions of the Academy and Society of 
American Artists. His beautiful small picture, “A Lady in 
Yellow,” attracted much notice at the Paris Exposition of 1889, 
and gained for its painter a medal of the second class. Simi- 
lar single figures or heads have been seen from time to time in the 
current exhibitions, and on account of their artistic refinement — 
and great excellence of execution are invariably the objects of 
favorable comment. Mr. Dewing was elected a National Aca- 
demician in 1888. He was formerly a Member of the Society 
of American Artists, but resigned from that body in 1897, to 
join the group of “Ten American Painters.” 


FREDERICK DIELMAN, P.N.A. 


poe at Hanover, Germany, in 1848, and brought to this 

country in early childhood, Frederick Dielman has always 
taken an active part in the development of American art inter-_ 
ests. He was elected a National Academician in 1883, and — 
soon afterward assumed a responsible place in the management - 
of the Academy. In 1899, on the retirement from office’ of 
Mr. ‘I. W. Wood, he was elected president. His easel pictures 
are ordinarily of small size, and his subjects are usually female 
heads or figures in some picturesque costume of the middle 
ages or the Renaissance. He has executed several important 
commissions for mural painting, chief among which, perhaps, 
were the cartoons for two large mosaics, “ Law” and “ History,” 
placed in the new Congressional. Library at Washington. His 
work in all fields is characterized by scholarly research, agree- 
able color schemes, and excellent drawing. 


J. H. DOLPH, N.A. 


\ X JHAT Eugéne Lambert is to Europe J. H. Dolph is to 

America, for he is our painter par excellence of cats. 

No one approaches him in his specialty, and, asleep or awake, 
30 


at rest or at play, he depicts the members of the domestic 
feline tribe with all their natural attributes. Mr. Dolph was 
born at Port Ann, N. Y., in 1835, and first studied with Louis 
Van Kuyck, at Antwerp. A second sojourn abroad some time 
afterward was passed in Paris, where he remained several years, 
and painted genre pictures as well as animals. He was elected 
an Associate of the National Academy in 1877, and became an 
Academician in 1899. 7 


LAWRENCE C. EARLE, A.N.A. 


12 is as a painter of single figures and of genre that Lawrence 

C. Earle is popularly known, but at his home at Montclair, 
N. J., he finds change and pleasure in his work by frequent 
sallies into the field of landscape. ‘To these interpretations he 
brings the same bold, simple methods of painting that are so 
well exemplified in his figure pictures. He was born in New 
York in 1845, and has studied in Munich, Florence, and Rome. 
He is an Associate of the National Academy, a Member of the 
American Water Color Society, and an Honorary Member of 
the Art Institute of Chicago, 


C. HARRY EATON, A.N.A. 


A LANDSCAPE painter whose pictures both in oil and 

water color possess much beauty of color and composi- 
tion, C. Harry Eaton is entirely self-taught. He was born near 
Akron, O., in 1850. His reputation has been made in the 
New York exhibitions, in which city he has resided during the 
greater part of his artistic career. His work has been recom- 
pensed by a silver medal in Boston in 1887, a gold medal at 
the Prize Fund Exhibition at the American Art Galleries, New 
York, in 1888, and by the William T. Evans Prize at the Ameri- 
can Water Color Society in 1898. He is an Associate of the 
National Academy of Design, and Secretary of the American 

SI 


Water Color Society. At the Paris Exposition of 1889, and the 
World’s Fair at Chicago in 1893, Mr. Eaton was worthily re- 
presented by his beautiful picture, “ A Normandy Landscape.” 
His “ Lily Pond” is owned by the Detroit Museum of Art. 


WYATT EATON 


SuCe pictures as “ Ariadne,” ‘‘ Daphne,” and “ La Cigale ” 


recall the classical period in the art of Jean Francois Mil- 


let, so beautiful are they in sentiment and so soberly rich in 
color. It is because such art in painting the nude is rare in 
the American school that we cast about for a prototype. 
Wyatt Eaton, however, in these and other compositions gave 
proof of the sincerity and singleness of his artistic purpose, and 
conclusively showed that he was moved by a high sense of im- 
aginative beauty. The greatness of his art is quite as apparent 
in his famous portraits, such as “The Man with the Violin,” 
or “ Reverie,” the lovely picture of a woman seated before a 
mirror. The fine fulness of his drawing, and the rich, deep 
sensuousness of his color place his pictures among the supremely 
artistic productions of our time. Born at Philipsburg, Canada, 
in 1849, Mr. Eaton came to New York to study under J. O. 
Eaton and at the Academy, but later on went to Paris. There 
he was one of the ablest pupils in the atelier of M. Géréme, and 
in due time made his mark at the Salon. Returning to New York 
in 1877, he was one of the painters who founded the Society 
of American Artists. His untimely death a few years ago cut 


short a career that reflects the highest honor on American art. 


BENJAMIN RUTHERFORD FITZ 


Gee recognizes the high place held by the nude as a 

subject for the pictorial and plastic arts, but it does not 

fall to the lot of many painters to leave behind them at their 

death such a masterly work as “The Reflection” by Benjamin 
32 


R. Fitz. Low in tone, reserved in color, beautiful in line, sim- 
ple in modelling, it stands as one of the most complete and 
lovely pictures of the nude American art has to show. The 
painter was born in New York in 1855, and was a pupil of the 


_ National Academy and the Art Students’ League from 1877 


to 1881. In the latter year he went to Munich, and studied 
under Professor Loéfftz. He won two medals at the exhibi- 
tions in the Bavarian capital, and when he returned to New 
York in 1884 his work showed the gain he had made in aca- 
demic proficiency. A few years more sufficed to npen and 
mature his admirable talent, but before he had gone far in a 
career that promised a great future he passed away in death 
in 1891. His works are cherished by our amateurs, and a 
picture represents his art in the Metropolitan Museum. Mr. 
Fitz was a member of the Society of American Artists, having 
been elected in 1888. 


BEN FOSTER 


At the exhibitions of the Society of American Artists and 

the Academy few landscapes have attracted more atten- 
tion than those signed by Ben Foster. His favorite subjects 
are night effects and woodland scenes, and his compositions are 
marked by a large feeling of unity. Poetical in aspect, his 
pictures contain sterling qualities of color, drawing, and con- 
struction. Mr. Foster was born at North Anson, Me., and 
studied in New York at the Art Students’ League and under 
Mr. Abbott H. Thayer. Afterward, in Paris, he was a pupil of 
MM. Aimé Morot and Luc Olivier Merson. He is a Member 
of the Society of American Artists and the New. York Water 
Color Club. He has received medals at Cleveland and at the 
Chicago World’s Fair, and pictures by him are owned by the 
Carnegie Institute, Pittsburg, Pa., and the Montreal Art Asso- 
ciation, Canada. 

33 


FREDERICK W. FREER, A.N.A. 


A FIGURE painter whose subjects consist of ideal creations 

and scenes of domestic genre, Frederick W. Freer has 
an enviable place in American art. He was born in Chicago, 
in 1849, and studied in the schools of Paris and Munich. On 
his return to America he had a studio in New York for a 
number of years, but latterly has resided in his native city. He 
is an Associate of the National Academy, and a Member of the 
American Water Color Society. 


GEORGE FULLER, A.N.A. 


Peres art of George Fuller is of the most personal sort, and he 

has had no imitators. His pictures reveal an artist striving 
to express his conceptions with no thought of academic tradi- 
tions. Somewhat like G. F. Watts in England, he searched for 
the truth and interpreted it, if not hesitatingly, at least with 
tentative effort. But finally finding his path, he struck out 
resolutely, and the creatures of his imagination took shape on 
the canvas invested with the thought of the artist which gives 
to each production its individuality. Born at Deerfield, Mass., 
in 1822, George Fuller passed through progressive stages of 
studying intermittently from nature, and settled finally in Boston 
as a portrait painter. Afterward he came to New York, and 
remained here twelve years. At the end of that time he went 
to Europe on his savings, and his study of the great museums 
seemed to open up before him an art vista he had not before 
dreamed of. He came back to America and retired to a farm, 
where for sixteen years he lived the life of a recluse almost; 
asked advice from nobody, but worked steadily on, material- 
izing with paint and brush the conceptions of his fancy. Thus 
it was that when he emerged from his seclusion his pictures 
came almost as a revelation. ‘The Romany Girl,” “ Nydia,” 
“The Turkey Girl,” “ Bringing Home the Cows,” and other 

34 


pictures were acclaimed as the product of a new artistic genius. 
He continued to paint in his own way for some ten years more, 
and died in the spring of 1884. An exhibition of his work held 
in Boston the same year was one of the most remarkable indi- 
vidual collections ever seen in America, and on that occasion 
his fame was definitely recognized. His election as an Associate 
of the National Academy dates back to the earlier period of. 
his art, and he afterwards sought no further honors and made 
no claim to official recognition. : 


GILBERT GAUL, N.A. 


GeeEERY GAUL was born in Jersey City, N. J., in 1855, 

and is a pupil of J. G. Brown, N.A. Whereas the 
lamented De Neuville and M. Detaille, the famous French 
painters of battles and soldier life, and most military painters, 
have seen actual service in the field, such is not the case with 
the American. He has made a close study of all that pertains 
to the soldier’s career, however, and his academic training, his 
keen insight, and his feeling for dramatic composition have 
done the rest. ‘“‘ Charging the Battery” and “ Wounded to the 
Rear” are among the best of his episodic compositions, and 
these stirring pictures have equally interesting, if less animated, 
companion pieces in a host of subjects wherein are depicted 
the excitement and the picturesque features of army life. 
Many of these are scenes on the plains of the Far West. For 
“ Charging the Battery’? Mr. Gaul was awarded a medal at the 
Paris Exposition of 1889. In 1882 he was elected a National 
Academician. 


R. SWAIN GIFFORD, N.A. 


S Risa mature and well-developed art of R. Swain Gifford is 

too well known to the American public to require more 
than a mere word of description. Born on the island of 
Naushon, Mass., in 1840, his first studies were made under a 


35 


Dutch marine painter, Albert Van Beest, who had a studio at 


New Bedford. His progress was very rapid, and in 1864 he 
opened a studio himself in Boston. Two years later he came 
to New York, and has ever since been a prominent figure in the 
native landscape school, as well as a citizen active in the art 
development of the city and the country at large. In 1870 Mr. 
Gifford made his first trip to Europe, and spent two years in 
study and travel in France, England, Spain, Italy, Morocco, 
and Egypt. In 1874 he went again to Africa for an artistic 
exploration of the great desert. The results of his observations 
in these foreign countries may be seen in many pictures 
belonging to an earlier period than that of the past ten years, 
for in these years he has become more and more wedded to the 
attractions offered by the picturesque scenery of the Massa- 
chusetts coast, and paints little else. His work is broad and 
simple in composition, sober in color, and harmoniously held 
together in all its parts. Mr. Gifford was one of the founders 
of the American Water Color Society, and was elected a 
National Academician in 1878. . He is a Member of the 
Society of American Artists and of the Society of Landscape 
Painters. One of his pictures is in the permanent collection of 
the Metropolitan Museum. 


SANFORD R. GIFFORD, N.A. 


IFFORD, Kensett, McEntee—how often have we heard 
these three names mentioned among the famous land- 
scape painters in the generation but lately passed away! ‘The 


art of the first and second when placed side by side with the 


canvases of the men of to-day have, it is true, an old-fashioned 
look, but it is no difficult task to point out wherein lay the 
excellence of their work, and it is no cause for wonder that 
their admirers were numbered not only in New York, but 
truly from the Atlantic to the Pacific. Sanford R. Gifford was 
born at Greenfield, N. Y., and graduated at Brown University 
in 1842. In 1844 he took his first painting lessons in the 
36 


studio of John R. Smith, and shortly afterward went to Europe. 
His travels at different times extended over Switzerland, the 
Rhine, Italy, Egypt, and the Nile. In 1870 he made a trip to 
the Rocky Mountains. He was commended for excellence in 
landscape painting at the Philadelphia Centennial Exhibition in 
1876, and in 1878 sent to Paris his “ Mount Renier” and “San 
Giorgio, Venice.” He was elected a National Academician in 
1854. He died in 1880. 


HENRY PETERS GRAY, P.N.A. 


ORN in New York in 1819, Henry Peters Gray began his 
art studies under Daniel Huntington, P.N.A., in 1839. 
He went to Europe in 1840, and fell under the magic spell of 
the old masters, whose secrets he endeavored to find out by 
much patient study and experiment. On his return in 1842 he 
was elected a National Academician, and later on, from 1869 to 
1871, he held the office of president. Painting portraits in 
New York, with an occasional figure picture, occupied the 
greater part of his artistic career, and ‘The Origin of Our 
Flag’”’ was one of the last of his exhibits at the Academy. This 
was shown in 1875. His work shows his sound academic study, 
and his color is reminiscent of the golden tone of Titian or 
Correggio. Many of his portraits were of cabinet size. He 
died in New York in 1877. 


SEYMOUR J. GUY, N.A. 


Te any American artist has painted a better genre picture 

than “ Making a Train” the fact is yet to be discovered, 
and this celebrated little picture is but one of a number of 
excellent works, such as “ Taking a Rest,” “The Orange Girl,” 
and ‘‘ Look, Mamma,’ which have brought reputation to Sey- 
mour J. Guy. While he paints figures out of doors, and the 
ordinary scenes of domestic genre, Mr. Guy has made a 

37 


specialty of candle-light effects. He has studied such problems 
of artificial light and shadow scientifically, but his knowledge is 
brought to bear in painting his pictures with an art that con- 
ceals anything like dry, uninteresting facts. He was bor in 
Greenwich, England, in 1824, and came to New York when in 
his thirtieth year. He was a pupil of Butterworth and Ambro- 
sino Jerome in England, and obtained his first success as a 
portrait painter. He was elected a National Academician in 
1865, and was one of the founders of the American Water 
Color Society. His conscientious methods of working and the 
care he gives to every detail in his work make his production 
comparatively slow, and his genre pictures are not very 
numerous. For this reason and on account of their intrinsic 
excellence they are eagerly sought for by collectors. 


EDGAR SCUDDER HAMILTON 


pre the age of nineteen Edgar Scudder Hamilton, who is the 
son of a clergyman of Trenton, N.J., came to New York 
to study art. He was born at San Antonio, Texas, in 1869. 
He entered the Art Students’ League and became a pupil of 
George de Forest Brush, A.N.A. ‘Three or four years later he 
went to Paris and continued his studies under MM. Jean Paul 
Laurens and Benjamin-Constant at the Académie Julian, and 
under M. Géréme at the Ecole des Beaux-Arts. Returning to 
New York in 1894, he made his appearance at the local exhibi- 
tions, and his work is rapidly becoming familiar to the art pub- 
lic. His color schemes are generally subdued, and picturesque 
composition is a notable feature of his work. 


WILLIAM ST. JOHN HARPER, A.N.A. 


AS a painter of sympathetic figure subjects, etcher, and il- 

lustrator, William St. John Harper’s work is favorably 

known to a large public, and appreciated for its worth by many 

connoisseurs. He was born at Rhinebeck, N. Y., in 1851, and 
38 


first studied in the schools of the National Academy under 
Professor Wilmarth. Later he was a pupil of William M. Chase 
and Walter Shirlaw in New York, and of MM. Munkacsy and 
Bonnatin Paris. Mr. Harper was president of the Art Students’ 
League in 1881, and is an Associate of the National Academy. 
He is a Member of the New York Etching Club. In 1892 he 
was awarded the Clarke Prize at the Academy for his picture 
called “ Autumn.” 


ARTHUR HOEBER 


isc landscape work of Arthur Hoeber is remarkable for its 

evident sincerity and careful observation of nature. . His 
favorite themes are quiet stretches of country with streams and 
clumps of trees, such as are found in the rural recesses of Long 
Island or New Jersey, and these he interprets under different 
effects of light and atmospheric conditions, with sound drawing 
and agreeable schemes of color. Mr. Hoeber was born in the 
city of New York, and first studied at the Art Students’ League. 
In the autumn of 1881 he went to Paris and became a pupil of 
M. Géroéme at the Ecole des Beaux-Arts. He worked there 
five years, and also had the benefit of criticisms from MM. 
Courtois and Collin. He exhibited at the Salons of 1882, 
1883, and 1885, and since his return to New York in 1886 has 
been a regular contributor to the exhibitions of the Society of 
American Artists and the Academy. He is a well-known 
writer on art topics for the magazines and journals, and is at 
present art critic of the New York Commerctal-Advertser. 
Mr. Hoeber’s studio is at Nutley, N. J. | 


WINSLOW HOMER, N.A. 


12 is altogether probable that if the artists of the United 

States were called upon to record their opinion of who 

is the greatest living distinctively American painter, the majority 

of tneir votes would be cast for Winslow Homer. This may be 
39 


said without invidious comparisons, for while all would recog- 
nize in Mr. John S. Sargent one of the greatest portrait painters 
that ever lived, and admit that his magnificent achievements 
place him quite hors 4igne, and while they would perhaps make 
some reservations and speak about our great landscape painters, 
it is practically certain that they would concede that the origi- 
nality of Mr. Homer’s treatment of his subjects, the marked 
individuality of his style, and the robust, vigorous character of 
his interpretations entitle him to the highest place in our native 
art. The painter of “ Maine Coast,” “ Eight Bells,” and other 
works nearly as well known, appears as a figure of almost heroic 
size in a survey of the American field of art. It is fair to say 
that this prominence of the artist is not due to superlative — 
academic and technical excellence, as in the case of Mr. Sargent, 
but is owing to the strength and personal character of his artistic 
temperament. Mr. Homer has really taught himself to paint. 
He was born in Boston in 1836, and displaying a great deal 
of skill as a draughtsman while at work in a lithographic estab- 
lishment in that city, he decided when a youth of nineteen to 
come to New York and strike out on an artistic career. He 
entered the schools of the National Academy and also received 
instruction from Frederick Rondel, a French artist of consider- 
able reputation at that time, and in his hours out of the class- 
rooms added to his support by making drawings on wood for 
publishers. During the Civil War he went to Washington and 
followed the armies in some of the campaigns, making illus- 
trations for Harper's Weekly. About this time he began to 
transcribe some of his subjects with brush and color. A series 
of pictures painted at this period are of the greatest interest 
artistically and historically. He sent one of the most impor- 
tant of them, “ Prisoners from the Front,” to the National 
Academy Exhibition in 1864, and was elected an Associate. In 
the following year he was made an Academician. The year after- 
ward he took an active part in the organization of the American 
Water Color Society. He now worked in all mediums, and was 
known as an artist of marked ability and individual talent. He 
went to Europe, but did not make a long sojourn, and his art 
was not influenced by his study of the masterpieces of the 
40 


| 


ancient and modern schools. It never has been influenced 
apparently by any other work. He has continued to paint in 
his own way, with nature for his sole guide and inspiration. 
He has made great successes and some failures, but he is never 
commonplace. He seizes the spirit of his subject, whatever it 
may be, with a sort of grip that does not relax until he has im- 
parted that spirit to his pictorial creation. He usually achieves 
this by very simple, direct means. His manner of painting is 
never tortured, but always free and bold. His drawing, if some- 
times erratic, is always powerful and expressive of true artistic 
virility. His color, once ordinary, has become distinguished. 
It is veracious, it is harmonious, and it,is his, and as easily 
recognized at a glance as that of Corot or Puvis de Chavannes. 
For the past ten or fifteen years he has lived on the coast of 
Maine, and there has painted. pictures of the sea, storm, and 
night which belong with the finest things modern art has to 
show. Previous work on the Newfoundland Banks and among 
the Southern negroes was in its way no less remarkable. All 
in all his achievement is one of our artistic glories, and Winslow 
Homer isa name sure to be known to posterity as that of one 
of the great artists of the century. 


THOMAS HOVENDEN, N.A. 


eee: at Dunmany, Ireland, in 1840, Thomas Hovenden 

obtained his first instruction in art at the Cork School of 
Design. Coming to New York in 1863, he worked in the night 
classes of the Academy, and supported himself by various 
occupations in business hours. In 1874 he at last found him- 
self in a position to give his undivided attention to art, and 
went to Paris to become a pupil of M. Cabanel at the Ecole 
des Beaux-Arts. A few years later he joined the artists’ 
colony at Pont Aven in Brittany; had a studio there, and 
painted Breton subjects. In 1880 he returned to New York. 
He was elected a National Academician in 1882, and was a 
Member of the Society of American Artists and the American 

Al 


Water Color Society. About the end of the eighties he went 
to Plymouth Meeting, Penn., and made a permanent home 
there, at the same time becoming a professor of painting at the 
Pennsylvania Academy of Fine Arts, Philadelphia. He was 
killed by a railway train at Plymouth Meeting station in 
August, 1895, while in the act of heroically saving the life of a 
child who was about to be run over. Among his most cele- 
brated pictures are “Elaine,” “John Brown Being Led to 
Execution,’ now in the permanent collection of the Metro- 
politan Museum, New York, “In the Hands of the Enemy,” 
“A Brittany Image Seller,’ “Chloe and Sam,” and “ Jeru- 
salem the Golden.” 


WILLIAM H. HOWE, N.A. 


ILLIAM H. HOWE, one of America’s best and most 
widely known cattle painters, was born at Ravenna, 

O., in 1846. He began the study of art in 1880 at the Royal 
Academy of Diisseldorf, Germany, and after working there two 
years went to Paris. Here he studied with Otto de Thoren 
and F. de Vuillefroy, and had a picture accepted at the Salon 
of 1883. For ten years thereafter he was a successful ex- 
hibitor at the Salon and other European exhibitions. Return- 
ing to the United States, he was elected a National Acade- 
mician in 1897, and a Member of the Society of American 
Artists in 1899. His list of official honors abroad and at home 
is a long one. At the Salon he received honorable mention in 
1886, and a medal of the third class in 1888. At the Paris 
Exposition of 1889 he was awarded a medal of the second 
class. At London, 1890, he received a gold medal, and 
the same year the Temple Gold Medal at the Pennsylvania 
Academy of Fine Arts, Philadelphia, and a gold medal at 
Boston. A medal was awarded to him at the Chicago World’s 
Fair in 1893, a gold medal at San Francisco in 1894, and a 
gold medal at Atlanta in 1895. He is an Officier d’Académie 
and a Chevalier of the Legion of Honor, both by decree of the 

42 


~ 


French Government. He has pictures in the permanent collec- 
tions of the St. Louis Museum of Fine Arts and in the Cleve- 
land Museum. Mr. Howe follows the best modern traditions 
in the art of cattle painting, as seen in the work of Troyon, 
Van Marcke, and other great artists, and his work is of sterling 
merit and personal style. 


ALFRED C. HOWLAND, N.A. 


ee art of Alfred C. Howland may well be described as 

consisting of a combination of genre and landscape, and 
he often invests his subjects with a touch of humor. He is also 
a clever painter of street scenes. He was born at Walpole, 
N. H., in 1838, and after studying several years in Boston went 
to Diisseldorf, where he became a pupil of Professor Albert 
Flamm. Later he went to France to study under Emile Lam- 
binet. He was elected a National Academician in 1882, and 
has his studio in New York. 


WILLIAM MORRIS HUNT 


ORN at Brattleboro, Vt., in 1824, it was the original inten- 
tion of William Morris Hunt to becomea sculptor. He 

went to Europe in 1846, and entered the Diisseldorf Academy, 
but soon gave up modelling, and studied painting under Cou- 
ture in Paris. He exhibited several years at the Salon, and 
then, returning to America, took up his residence in Boston. 
There, and at Newport, R.I., he had studios, and at these 
places he painted and gave instruction to his numerous pupils 
until his death in 1879. He made frequent visits to Europe, 
and also spent some time in Albany, N. Y., where he was en- 
gaged in painting in fresco, in the Capitol, two important com- 
positions, ““The East and Moming” and “The West and 


43 


Evening.” ‘These were among the earliest commissions for 
mural painting given to American artists. 

Preceding by several years in his return to the United States 
the influx of American painters educated in Paris and Munich, 
which gave such a decided turn in the direction of improved 
technique to American art in 1877 and following years, the work 
of Hunt attracted, no doubt, more attention and received more 
critical notice than it would if he had come later. But there , 
can be no question as to the genuineness of his talent and the 

sincerity and artistic quality of his painting. It possesses a 
- marked individual quality, and is especially notable for beautiful 
color. His advice to students did much to bring about the 
so-called “ renaissance of American art,” which is generally set 
down as following the Centennial] Exhibition at Philadelphia in 
1876. Portraits, figure subjects, landscape and marine paint- 
ing were all included within his artistic scope. Among his 
notable portraits may be mentioned those of Judge Shaw and 
Governor Andrews of Massachusetts, James Freeman Clarke, 
Charles Sumner, and Oakes Ames. Some of his principal figure 
works are: “ The Street Musician,” “ The Bathers,” “The Mar- 
guerite,” “The Drummer Boy,” “Child Selling Violets,” “The 
Morning Star,” and “ Plowing.’’ Representative examples of 
his work are in the permanent collections of the Fine Arts 
Museum, Boston, and the Metropolitan Museum, New York. 


GEORGE INNESS, N.A. 


HE splendid career of George Inness, the greatest Ameri- 
can landscape painter, was brought to an end by his 
sudden death in Scotland, August 3, 1894, while he was on a 
trip abroad undertaken for the recuperation of his health, im- 
paired by unceasing hard work. He was born at Newburg, 
N. Y., in 1825. Except for some elementary instruction in his 
youth in Newark, N. J., and a few months’ study under Regis 
Gignoux in New York, he received no academic art education. 
He found out for himself by a long course of patient study from 


44 


nature out of doors how best to express his ideals on canvas. 
His work is distinctly divided into two periods—the first cover- 
ing the years during which, in conscientious, analytical fashion, 
he painted scenes in this country, Italy, and other parts of 
Europe; the second embracing the time from about 1878 to 
his death, during which he became more and more a synthesist. 
In this latter period he painted passing effects with such power, 
individuality, and beauty of color and composition as to place 
his work among that of the greatest artists of the nineteenth 
century. 

Successful artists invariably go through a period of tentative 


_ work. Some do so in the first years of their career, after having 


gone through a period of study in the class-rooms, where they 
have learned all they can by drawing and painting from the 
model. ‘Then, setting out with a more or less adequate technical 
equipment, they gradually come to their full development, hay- 
ing in many cases more than once changed their point of view 
in looking at the whole field of art. ‘Their academic training 
serves them in good stead; and a change of view involves not 
so much a change of method as of manner. Others—without 
such technical education, acquiring skill at the same time that 
they are unlearning what at first, owing to the narrowness of 
their horizon, seemed well enough for the purpose in hand, even 
if it was not entirely satisfactory—advance slowly but surely to 
a point where technical difficulties trouble them no longer ; 
where breadth of vision and fulness of thought find the hand a 
ready interpreter, and nothing except the ever-growing desire 
in the heart of the true artist to accomplish greater things than 
those already achieved impedes the free expression of the 
painter’s impressions of nature. Inness belongs in the latter 
category. There are points of similarity in his development 
and that of two great Frenchmen—Corot and Rousseau. Both 
had more academical training than Inness, but both, in their 
landscape work, went through the analytical stages that mark 
the earlier pictures of Inness. The landscapes of George 
Inness show the same sort of grasp as those of these two mas- 
ters—the same intensity of purpose, the same general concep- 
tion of nature—and they possess a quality of tone, a depth and 


45 


variety of color, a dramatic force of composition, and a char- 
acter entirely their own. 

We see Inness as a synthesist at his best in such noble 
works as “ Georgia Pines,” “Sunset on the Passaic,” “ Nine 
O’Clock,”’ “ The Wood Gatherers,” “The Moon at Night,” or 
“‘ After a Summer Shower.” In these and other pictures of his 
second period the ripeness and maturity of his art are manifest, 
and the artist is seen expressing his grand ideals unhampered by 
any difficulties in the management of his medium. In works 
of the earlier period, such as “‘ Conway Valley,” “ The Delaware 
Valley,” or “In the Catskills,” we are impressed by the breadth 
of his artistic vision, the virility of his processes, and his remark- 
able knowledge of form. His art in both is of the most genu- 
inely sympathetic quality. ‘Taking them as a whole, we find no 
“ general scheme ”’ varied to suit different conditions of light and 
atmospheric effect. Each picture is the result of the most intel- 
ligent observation and thorough search for truth. Each work 
bears the impress of the artist’s supreme individuality. If we 
wish to see what he could do when at the maturity of his powers 
he undertook to paint a purely naturalistic landscape, we have 
only to look at that masterpiece of truthful observation and tech- 
nical excellence, “Winter Morning at Montclair.” Nothing 
could be better or more convincing, and it will always stand asa 
proof of the soundness of Inness’s artistic equipment, while it 
remains a real Zour de force in rendering an effect in nature by 
means as simple and direct in execution as they are beautiful in 
the ensemble of their completeness. 

George Inness found one of his first patrons in Ogden Hag- 
gerty, a drygoods auctioneer, in New York, who bought pictures 
from him before the Civil War. In the early sixties he found 
another financial supporter in Marcus Spring, who was one of the 
strongest advocates of the artistic ability of William Page, N.A., 
the portrait painter. Henry Ward Beecher greatly admired the 
work of Inness, and at his death left several pictures which he 
had bought from the artist. ‘Thomas Wigglesworth, of Boston, 
was another of his earlier patrons. ‘Thomas B. Clarke, of New 
York, began buying them about twenty years ago, and in the sale 
of his noted collection in February, 1899, there was a large num- 

46 


ber of Inness’s pictures. In the William T. Evans collection there 
are seventeen, including the splendid “ Georgia Pines,” which 
the artist gave to his wife, with the remark that it was his best 
picture. James W. Ellsworth, Potter Palmer, Richard H. Hal- 
stead, George A. Hearn, Benjamin Altman, Emerson McMillan, 
and other well-known amateurs possess pictures by the great 
American landscape painter. ‘The time has long since passed 
when his work was discussed as to the place it should hold in 
modern art. No one now disputes its supremacy. 


DAVID JOHNSON, N.A. 


Pee? JOHNSON was born in New York in 1827, and at 

the beginning of his artistic career received a few lessons 
from J. F. Cropsey, N.A. He has studied the works of the 
great European masters of landscape painting, but his profes- 
sional life has passed entirely in New York, and he has never 
been abroad. He was elected a National Academician in 1861, 
and was one of the founders of the Artists’ Fund Society. At 
the Centennial Exhibition at Philadelphia in 1876 he exhibited 
“Scenery on the Housatonic,” “ Old Man of the Mountains,” 
and “ A Brook Study, Orange County, N. Y.,” and received one 
of the first awards. His pictures are notable for fine color and 
excellent drawing. 


EASTMAN JOHNSON, N.A. 


VA ses one of the most distinguished and most successful 

of American portrait painters, Eastman Johnson is 
equally well known as a painter of genre. His work in this field 
is characterized by fine color quality, and realizes with sympa- 
thetic feeling the spirit of his subject. His style is distinctive 
and personal, and his compositions and portraits alike attest the 
sincerity, breadth, and maturity of his achievements. Mr. John- 
son was born at Lovell, Me., in 1824, and began, while quite 
young, to make portraits incrayon. In 1845 he was at work in 

47 


Washington, and later at Cambridge and Boston. In 1849 he 
went abroad and took up oil-painting under Professor Leutze, 
in Diisseldorf, spending two years afterward in painting at The 
Hague and Paris. Upon his return to America he took a studio 
_in New York, and was elected a National Academician in 1860. 
He is a Member of the Society of American Artists. Mr. John- 
son received a medal for his work exhibited at the Paris Expo- 
sition of 1889. 


FRANCIS COATES JONES, N.A. 


Seca of domestic genre in which child life often plays a 

part are for the most part the subjects to which Francis 
C. Jones devotes his imaginative fancy and his skilful brush. 
He frequently paints figures out of doors with landscape settings, 
and all of his pictures are marked by graceful drawing and 
agreeable schemes of color. Mr. Jones, who is a younger 
brother of H. Bolton Jones, N.A., the distinguished landscape 
painter, was born in Baltimore in 1857. He went to Europe and 
joined his brother at the artist colony of Pont Aven, Brittany, 
in the seventies, from whence he proceeded to Paris to study 
under MM. Boulanger and Lefebvre at the Académie Julian and 
at the Ecole des Beaux-Arts. He returned to the United States 
in 1881, and has had a studio ever since in New York. In 1885 
he received the Clarke Prize at the National Academy for his 
picture “ Exchanging Confidences.” In 1894 he was elected 
a National Academician. He is a Member of the Society of 
American Artists, the American Water Color Society, and the 
Architectural League of New York. 


H. BOLTON JONES, N.A. 


H UGH BOLTON JONES was born in Baltimore in 1848 

and began his art studies in that city. He went to 

France in the seventies, and became a member of the artist 
48 


a 


colony at Pont Aven, in Brittany, which was founded by the 
eminent American artist, Robert Wylie, and where, when Mr. 
Jones was a resident, the late W. L. Picknell, A.N.A., and other 
well-known artists, French, British, and American, were work- 
ing. ‘The climate of lower Brittany permits the artists to work 
out of doors all the year round, and Mr. Jones’s studies from 
nature during the years he lived at Pont Aven were close and 
unremitting. Many good pictures from his easel date from that 
period. Later on he travelled in Spain and in Northern Africa, 
but for ten or fifteen years now he has found all his subjects in the 
United States, whether in picturesque field and forest of New 
Jersey or along the Massachusetts coast. He was elected a Na- 
tional Academician in 1883 and is a Member of the Society of 
American Artists and the American Water Color Society. A 
medal of the third class was awarded to him for his fine land- 
scape exhibit at the Paris Exposition of 1889. Mr. Jones has 
a studio in New York, but, like many of our landscape painters, 
spends more months of the year in the country than in town. 
His work possesses sterling qualities of color and drawing, belongs 
to the naturalistic school, and is widely known at home and 
abroad. 


Jor RENSET T, N.A. 


ORE of the most distinguished American painters of the last 

generation was J. F. Kensett, who was born at Cheshire, 
Conn., in 1818, and began his artistic career as an engraver. 
He finally went abroad to study painting, and in 1850 sent a 
picture to the Royal Academy, London, which was-highly praised 
by the critics. Travel and study followed in Switzerland, Italy, 
and on the Rhine. When he returned to America with a high 
reputation established by the work he had sent here from abroad 
to our exhibitions, he took a studio in New York, and continued 
his professional life in this city till his death, which took place 
in 1872. Mr. Kensett was elected a National Academician in 
1849, and in 1859 was a Member of the Art Committee which 

49 


superintended the work of decoration of the National Capitol 
at Washington. In the latter years of his career he devoted 
himself to the depiction of American scenery, and his fame and 
popularity were surpassed by that of no other artist. 


FREDERICK W. KOST 


AONE the comparatively younger men in the American 
school of landscape painters none occupies a more promi- 


nent place than Frederick W. Kost, whose achievements entitle ~ 
him to high rank as an artist and whose work each year affords - 
additional proof of the soundness of his methods and the fine 


quality of his temperament. Such pictures as “The Driftwood 
Gatherer,” a splendid piece of tone with the most virile technical 
handling, or “ Moonrise, Foxhills,” with its tender atmospheric 


_ quality and beautiful delicate color, are sufficient evidence of his 


a i 


great ability and fine artistic feeling, and all of his pictures bear 


the stamp of individuality. Mr. Kost was born in the city of 
New York in 1861, and first studied in the schools of the 
National-Academy. Later on he continued his work in Paris 
and Munich. — His studio is in New York, and his favorite paint- 
ing grounds are along the shores and in the picturesque interior 
of Staten Island. He is a Member of the Society of American 
Artists, the Society of Landscape Painters, and the Artists’ 
Fund Society. 


W. L. LATHROP 


Boe or five years ago an artist’s work appeared at the © 


exhibition of the American Water Color Society which was 

so excellent in method and so charming in sentiment that it 

made a sensation. The pictures were landscapes with Ohio 

scenery for their subjects, and the painter, W. L. Lathrop, was 

not long in becoming a celebrity. In 1896 he was awarded the 
50 


William aes Evans Prize at the water color exhibition for his 


picture “ Twilight i in Connecticut.” . In 1897 he received the 
gold medal of the Art°Club of Philadelphia for the best water 
color in its exhibition. In 1899 the jury of the Society of 
American Artists awarded him the Webb Prize for his picture 


in oil called “Clouds and Hills.” His work continues to show 


the absolute sincerity of his artistic purpose, and his water colors 


yield to nothing in the American school in true beauty of con- 


“ception and unobtrusive, all-convincing style. Mr. Lathrop was 


i} 


born at Warren, Ill., in 1859,.but passed his youth in Paines- 
ville, in Northern Ohio. He has had no systematic instruction 


from any school or master and is an indefatigable, consistent : 
“ student of, nature. 


WILL H. LOW, N.A. 


EW American artists have devoted themselves with such | 
intelligence and thorough technical equipment to the study , 


of the nude, the classical, and the allegorical as Will H. Low. 


_ He was born at Albany, N. 'Y., in 1853, and after accumulating 


means by working for the illustrated periodicals in New York 


_went to Europe in 1873. He studied for a time in the atelier 


of M. Géréme, but joined the Carolus-Duran atelier, where he 
found the master’s instruction more in line with his own artistic 
sympathies, and remained a pupil there until 1877. He had 


meanwhile exhibited pictures at the Salon. Returning to New 


York, he was one of the founders of the Society of American 


' Artists in 1878, and shared in the general praise bestowed on 


the young artists who created such a sensation by their con- 


. tributions to the Academy that year. In 1890 he was elected 


a National Academician. Portraits and such subject pictures as 

the beautiful classical composition “The Portrait,” with an 

occasional nude figure notable for graceful drawing and tender 

color, constituted his principal work for several years, but of late 

he has given much time to mural painting. In this field of art 

he has executed some important commissions, notably the panels 
51 


any 


and medallions in the great ballroom of the Astoria Hotel. Mr. 
Low is widely known as an illustrator through his beautiful draw- 
ings for éd@itions de luxe of Keats’s “ Lamia” and “Sonnets” 
and enjoys a literary reputation from his contributions to the 
magazines on art topics, which he discusses with a refined style 
and rare catholicity of judgment. His studio is at Lawrence 
Park, Bronxville, N. Y, 


JERVIS McENTEE, N.A. 


Ret imaginative feeling, rich and vibrant color, and sound 

execution are characteristics of the landscape painting of 
Jervis McEntee. He was born at Rondout, N. Y., in 1828, 
and began the study of art in the city of New York in 1850 
under Frederick E. Church, N.A. A few years later he opened 
a studio of his own, and in 1861 he was elected a National 
Academician. His work is of sterling quality, and represents 
with great fidelity various characteristic phases of the American 
scenery and climate. His autumn studies are particularly re- 
markable. His pictures at the Centennial Exhibition, Phila- 
delphia, in 1876 were commended by the judges for artistic 
excellence, and a picture exhibited at the Royal Academy in 
1872 was received with great favor in London. He died in 1891 
in the enjoyment of a well-won reputation. 


C. MORGAN McILHENNY, A.N.A. 


MORGAN McILHENNY, one of the cleverest and most 
* esteemed of the younger group of American artists, was 


born in Philadelphia in 1858. His work has attained great 


popularity, and has been received with approbation by his 

fellow-artists. The William T. Evans Prize at the American 

Water Color Society, of which he is a member, was awarded to 

him in 1892. At the Academy he received the first Hall- 

garten Prize in 1893. The same year the judges at the 
| 52 ent 


: 
| 
. 


Chicago World’s Fair awarded him medals for painting in oil 
and water color. He is an Associate of the National Academy 
of Design and a Member of the New York Water Color Club. 
Mr. Mcllhenny’s studio is at Shrub Oak, N. Y., and his subjects . 
are generally landscape effects enlivened by figures or including 
. cattle, which he paints with admirable truth to nature and fine 
technical execution. 


WILLIAM S. MACY 


: iti" lala S. MACY, a landscape painter, whose work is 

forceful in method and effective in color, was born at 
New Bedford, Mass., in 1853. He received his first instruc- 
’ tion in art at the schools of the National Academy, New York, 
- and from J. O. Eaton. In 1876 he went to Munich and 
-studied four years under Velton. At the end of this time he 
returned to New York, and had a studio in the Y. M. C. A. 
building until five years ago, when his health was such that he 
was forced, for the time at least, to give up painting. Mr. 
Macy received a medal at the Mechanics’ Fair Association 
Exhibition at Boston in 1883. 


HOMER D. MARTIN, N.A. 


each day since the death of Homer Martin in 1897 brings 

greater glory to his name. ‘There was a time when such 
a mere handful of people believed in his art that it scarcely 
sufficed to bring in the necessaries of life. Later years brought 
wider appreciation, but it is only in the past two or three years 
- that his works have been estimated at their true valuation. He 
was born in Albany, N. Y., in 1836, and studied painting with 
William: Hart,,N.A. In 1875 he was elected a National 
Academician, and in 1878 was one- of the founders of the 
Society of American Artists. His early work followed the 
conventional lines of the Hudson River School, and -he was 
53 ‘ 


* 


the first to break away from mannerisms and artificiality, be- 
coming, in a sense, the first American impressionist. It must 
not be understood by: this that his emancipated style resembled 
the processes of the French impressionists and their followers. 
He did seek to paint his impressions synthetically, however, 
and at the time he was looked upon asa revolutionary. Martin’s 
landscapes are invariably fine in ensemble, and are generally 
sober and subdued in color. They are full of genuine senti- 
ment, and impress the spectator by the charm of their poetic 
naturalism. His noted works, such as ‘“ Normandy Trees,” 
“ Adirondack Scenery,” “ River Scene”’ (Metropolitan Museum, 
New York), and “Old Church in Normandy,” are among the 
most individual productions of American art, and his work as a 
whole occupies a place by itself owing to its intrinsic beauty 
and admirable personal quality. 


CHARLES H. MILLER, N.A. 


(Qe H. MILLER was born in New York in 1842 

and studied medicine. Before he graduated he had 
been sufficiently interested in art to try his hand at painting as 
a relief from his professional study, and a picture he sent to 
the Academy in 1860 was hung in the exhibition. He grad- 
uated in 1863 and began practice, but a trip to Europe so 
influenced him that he finally gave up the medical profession 
and went to Munich to study painting. He was there a pupil 
of Professor Lier, and studied afterwards in Vienna, Berlin, 
Dresden, and Paris. In 1875 he was elected a National Aca- 
demician, and having now returned to America he took a studio 
in New York. He finds most of his subjects on Long Island, 
and his landscapes of picturesque spots in its fields, forests, 
and villages are characterized by mellow color and synthetic 
treatment. Many an old mill, or other building, whose erec- 
tion dates back to pre-Revolutionary times, has been depicted 
by his brush, and the whole series of his Long Island pictures 
constitutes a historical record apart from its artistic value. 

54 


_ FRANCIS DAVIS MILLET, N.A. 


A GRADUATE of Harvard University in the class of 1869 

and a graduate of the Royal Academy of Antwerp as a 
pupil of Van Lerius and De Keyser, Francis D. Millet began 
life well equipped for the dual profession of painter and writer 
he has so successfully followed. As early as 1873 he had won 
his gold and silver medals in the Academy class-rooms, and in 
1878 he was the member from the United States on the Inter- 
national Art Jury at the Paris Exposition. In the Russo-Turk- 
ish War he was the correspondent of one of the great London 
dailies, and in 1898 he went to Manila in a similar capacity 
for the London Zimes and Harper's Weekly. He was elected 
a National Academician in 1885, and has served one or two 
terms as vice-president. A decade ago, after a more or less 
continuous residence in New York, he went to live perma- 
nentlyin England. His home there is at Broadway, in Worces- 
tershire, and, surrounded by pleasant influences and with a 
vast store of material at his hand, he paints the beautiful com- 
positions of historic genre which have brought him a high 
reputation as an artist. In 1893 Mr. Millet was the Chief of 
Decoration at the World’s Fair, Chicago, and did yeoman 
service in the cause of American art. He has lately been 
called upon to act in an advisory capacity with similar duties 
at the United States Building at the Paris Exposition of 1900. 
Mr. Millet is a Member of the Society of American Artists 
and of the American Water Color Society. He was born 
at Mattapoisett, Mass., in 1846. 


ROBERT C. MINOR, N.A. 


OETIC sentiment with fine, resonant color effects are 
found in the landscapes of R. C. Minor, who is an avowed 
“Barbizon man” and has founded his art on the traditions of 


55 


the famous group of artists whose works ‘have attained such 
world-wide celebrity. He loves and understands nature, and 
with thorough knowledge and enthusiastic. endeavor portrays 
her moods with feeling as well as science. Simplicity of sub- 
ject and completeness of composition are the main factors in © 
his creations, and particularly in sunset and: in twilight effects 
does he appear as a sympathetic interpreter of nature’s subtle 
changes. His pictures possess a marked: individuality, and are 
highly appreciated by American lovers of art. Mr. Minor was 
born in the city of New York in 1840, and was a pupil of Diaz 
in Paris, and of Van Luppen and Boulanger in “Antwerp. He 
was elected a National Academician in 1897, having been an 
Associate for a long time previously, and is a Member of the 
American Water Color Society and the Society of Landscape 
Painters. At the Paris Exposition of 1889 he was awarded a 
medal of the third class. His pictures are in many important 
collections. His studio is in New York, and he spends his 
summers near New London, Conn., where he has a country 
home. 


LOUIS MOELLER, N.A. 


Ape high reputation of Louis Moeller as a genre painter 

dates from the exhibition at the Academy in 1884 of a 
small picture called “ Puzzled.” It is a single figure of a ge- 
ographer before his globe, and the precision of drawing and 
microscopic yet comprehensive finish is most remarkable. 
This picture has been followed by a series of compositions of 
a like nature. Sometimes they contain as many as a dozen 
figures, and in all cases the unity of the whole is preserved, 
together with minuteness of detail. Mr. Moeller was born in 
the city of New York and studied drawing at the National 
Academy schools. Afterwards he spent six years in Munich as 
a pupil of Duveneck and of Professor Dietz. In 1894 he 
received the first Hailgarten Prize at the National Academy, 
was elected an Associate, and in 1895 became an Academician. 

56 


/ 


THOMAS MORAN, N.A. 


HOMAS MORAN was born in Lancashire, England, but 
was brought to the United States when a little boy of 
seven. He began his art career as a wood engraver in Phila- 
delphia and in his hours of leisure taught himself to paint in 
water-color and afterward in oils. His brother, Edward Moran, 
gave him the benefits of the instruction he had himself received 
preparatory to setting up his easel as a landscape and marine 
painter. In 1862 Thomas Moran went to England and made 
a study of the masters in the National Gallery, receiving a 
strong impression from the work of J. Turner, and in 1866 
made a second trip abroad, travelling this time in France and 
Italy. In 1871 he visited the far West with Professor Hayden’s 
expedition, and brought back many studies of the grandiose 
scenery of the Rocky Mountains and the great arid deserts of 
Arizona. In 1872 Mr. Moran established himself permanently 
in New York. He spends his summers at his country home at 
Easthampton, L. I. Hewas elected a National Academician 
in 1884, and is a Member of the Pennsylvania Academy of Fine 
Arts, the Artists’ Fund Society, the American Water Color 
Society, the New York Etching Club, and the Society of Ameri- 
can Etchers. ‘The subjects of his pictures are taken from one 
or another of the:places he has visited and studied, now Venice, 
now. the Yellowstone Park, now Niagara, and now the luxuriant 
meadows of Kent and Sussex, or the quiet villages and pastures 
of Long Island. To all he brings a fine sense of composition 
and amazing cleverness of handling. His color effects are 
brilliant and dramatic. As a water-color painter and. as an 
etcher his skill and fertility of invention are equally notable. 


H. SIDDONS MOWBRAY, N.A. 


PUPIL of M. Bonnat in Paris, where he spent seven years, 
the first four in the schools, H. Siddons Mowbray came to 
New York in 1885 with a reputation already made by pictures 


a7 


exhibited at the Salon or seen in London and New York in the 
galleries of prominent art dealers. He was born of English 
parents at Alexandria, Egypt, in 1854, but was brought to this 
country when a child by his uncle, who was a resident of North 
Adams, Mass. He received an appointment to the United 
States Military Academy at West Point, but gave up his pros- 
pective career as a soldier after the first year of the course, and 
took up the study of art. He has created a little world of his 
own in his pictures of Oriental subjects, in which lithe young 
women, clad in delicately colored stuffs, embroidered silks 
and satins, and gauze, dream away the idle hours'.in dimly 
lighted Eastern palaces. In other works, he brings back in 
pictorial form the romantic days of Florence, and Italian chateau 
life at the time of the Renaissance. He paints cabinet portraits 
of women with a rare degree of sympathetic understanding and 
superlative technical skill, and of late years has given a great 
part of his time to mural painting. Among his most recent 
achievements in this branch of art is his beautiful frieze rep- 
resenting “ The Transmission of the Law,” in the new building 
of the Appellate Court in Madison Square, New York. In all 
his compositions, ideal, imaginative, decorative, or realistic, he 
brings to bear a profound knowledge of the human figure, 
admirable accomplishment in drawing and painting, and a fine 
sense of color. He is also well known as an illustrator and as 
a designer of rare taste and ingenious fancy. Mr. Mowbray was 
elected a National Academician in 1891, and is a Member of 
the Society of American Artists. In 1888 he received the 
Clarke Prize at the Academy. 


J. FRANCIS MURPHY, N.A. 


alee effects of landscape that J. Francis Murphy loves to 

paint may not be called “striking,” for they are not such 

as produce their impression by force of violent contrasts. Rather 

are they subtile and tender, and their charm grows greater on 

the spectator the longer he looks. Poetic in feeling and syn- 
58 


thetically handled, but preserving the right amount of detail, 
they are among the choicest products of this flourishing epoch 
in American landscape-painting. The artist was born at Oswego, 
N. Y., in 1853, and is self-taught. He has been abroad, but his 
art has not been influenced by any ephemeral fashions. In 
1887 he received the first award of the Webb Prize at the 
. Society of American Artists for his picture “ Brook and Fields.” 
In 1885 the second Hallgarten Prize at the Academy was his, 
and in 1887 he was elected a National Academician. He isa 
Member of the American Water Color Society, and received the 
William T. Evans Prize at its exhibition in 1894 for his picture 
“Under Gray Skies.” A Member of the Society of Landscape 
Painters, he was represented at its first annual exhibition in the 
spring of 1899 by a group of ten characteristic landscapes. His 
work is highly appreciated by our amateurs, and pictures by him 
are in many of the best American collections. 


ROBERT L. NEWMAN 


OBERT L. NEWMAN was born in Richmond, Va., in 
1827, and went with his parents to Tennessee when he was 
eleven years of age. As a youth he read much about art, and in 
1850 went to Europe with the intention of studying at Dtisseldorf, 
but having stopped in Paris, he entered the atelier of Thomas 
Couture. He remained but a few months, and this was the 
extent of his art instruction. After returning to Tennessee he 
made a second trip to Paris in 1854, and formed the acquaint- 
ance of William M. Hunt, who introduced him to Jean Francois 
Millet. Mr. Newman was one of the earliest purchasers of 
Millet’s work, acquiring “Le Vanneur”’ and other pictures, 
which he afterwards sold. At the breaking out of the Civil 
War he was employed as a draughtsman by the Confederate 
Government, and in 1864 served in the Sixteenth Virginia In- 
fantry. In 1882 and subsequently he made several trips to 
Barbizon, and his work shows the influence of the group of masters 
who made that modest village a household word in the realm of 
59 


art. His pictures, which are principally in oils, are of cabinet 
size, and consist of color harmonies of rare charm and fine deco- 
tative effect. In 1894 a successful exhibition of a large number 
of his canvases was held at Knoedler’s Galleries in New York, 
and the collection was afterwards transferred to Boston, where, 
at the Museum of Fine Arts, it received much appreciative 
notice. Mr. Newman’s studio is in New York, 


RHODA HOLMES NICHOLLS 


RS. HOLMES NICHOLLS’S suavely painted and clev- 
erly drawn pictures, whether of figure subject or land- 
scape or street scene, whether in oil or in water colors, are well 
known to the American art public, and appear in all the promi- 
nent exhibitions. She was born in Coventry, England, and stud- 
ied at the Bloomsbury Art School, London, and in Rome. The 
Queen’s scholarship was awarded her in her school-days, and she 
has received medals for her work at the Prize Fund Exhibition 
of the American Art Association, New York, at Chicago, Atlanta, 
Worcester, and Nashville. She isa Member of the Woman’s Art — 
Club and the New York Water Color Club. Her studio is in 
New York. 


J. C. NICOLL, N.A. 


OHN C. NICOLL, the well-known painter of marines and 
landscape, was born in the city of New Yorkin 1845. He 
painted for two years in the studio of M. F. H. De Haas, N.A., 
and studied out of doors with Kruseman Van Elten, N.A., but 
is, properly speaking, more a pupil of the school of nature than 
of any master. His favorite subjects are coast views, and he has 
found material for his pictures all the way from the Gulf of St. 
Lawrence to Florida. Mr. Nicoll was one of the founder mem- 
bers of the American Water Color Society, and was elected a 
National Academician in 1885. His “ Foggy Morning, Grand 
60 


Manan,” and his “ Gulf of St. Lawrence’ were at the Centen- 
nial Exhibition at Philadelphia in 1876, and his “ On the Gulf 
of St. Lawrence ’”’ and “ Showers on the Coast ’’ were at the Paris 
Exposition of 1878. At the Paris Exposition of 1889 his work 
received an honorable mention from the jury of award. His 
studio is in New York. 


LEONARD OCHTMAN, A.N.A. 


ORN in Zonnemain, Holland, in 1854, Leonard Ochtman 
was brought to the United States in his boyhood, and grew 
up in Albany, N. Y., where he made his first essays in landscape 
painting. He isself-taught. He first exhibited at the National 
Academy in 1882, and has been a regular contributor ever since, 
as well as to the Society of American Artists, of which body he 
isa Member. He is an Associate of the Academy and a Mem- 
ber of the American Water Color Society, the New York Water 
Color Club, and the Society of Landscape Painters. He has 
received prizes and medals at the Brooklyn Art Club (1892), 
the World’s Fair at Chicago (1893), the Philadelphia Art Club 
(gold medal, 1894), and at Boston. He is well represented in 
private and public collections throughout the country. Mr. Ocht- 
man’s pictures are agreeable in their selection of subject, broadly 
but carefully painted, and possess color qualities of distinction. 
His studio is in New York, and he spends his summers at Mianus, 
Conn., where he finds many of the themes which inspire him. 


ARTHUR PARTON, N.A. 


faa a PARTON is a landscape painter whose reputa- 

tion was made twenty-five years ago, but his work pos- 

sesses the quality of holding its own in company with that of men 

brought up with the most modern theories concerning light and 

values. His pictures show his sympathy with the peaceful moods 
61 


of nature, and he interprets his motives with evident understand- 
ing and sincerity of artistic purpose. He was born at Hudson» 
N. Y., in 1842, and studied in Philadelphia under William T. 
Richards. In 1869 he visited Europe and obtained some effec- 
tive studies of Scotch and English scenery. He was elected a 
National Academician in 1884, and isa Member of the American 
Water Color Society. His studio is in New York, though, like 
other landscape painters, he passes a good part of the year in 
the country. At the Paris Exposition of 1889 Mr. Parton was 
awarded an honorable mention for his picture “ In the Month 
of May.” 


ERNEST PARTON 


[Bre heet PARTON, a younger brother of Arthur Parton, 

N.A., was born at Hudson, N. Y., in 1845, and studied, 
at the outset of his career, for two years in his brother’s studio. 
In 1873 he went to Europe, intending to pass a few months in 
England, but meeting with success in London he has since re- 
mained there,and exhibits rarely in the United States. His 
landscapes, which generally depict typical English rural scenery, 
are sympathetic in treatment and attractive in general aspect. 
Mr. Parton is a regular exhibitor at the Royal Academy, and is a 
Member of the Artists’ Fund Society. He received an honor- 
able mention at the Paris Exposition of 1889. 


CHARLES A. PLATT, A.N.A. 


HARLES A. PLATT, one of the most distinguished of 

the younger school of American landscape painters, was" 

born in the city of New York in 1861, and was a pupil of the 
National Academy of Design and the Art Students’ League. The 
five years from 1882 to 1887 he spent in Paris, where he was a 
pupil of the Académie Julian under MM. Boulanger and Lefebvre. 
He is an Associate of the National Academy and a Member of 

62 


the Society of American Artists and the American Water Color 
Society. In 1894 he was awarded the Webb Prize at the Society 
of American Artists for his beautiful composition “ Clouds.” He 
is one of the most eminent American etchers, and his work in 
this field, as in water-color painting, possesses the fine simplicity 
of style and charm of ensemble that characterize his landscapes 
in oil. Mr. Platt’s studio is in New York, and his summer home 
at Windsor, Vt. Of late years he has taken up the practice of 
landscape gardening and architecture with brilliant success. 


A. PHIMISTER PROCTOR 


fae PROCTOR, sculptor and painter, was born in 

1862, his father being a Scotsman and his mother a native 
of the State of New York. ‘The early part of his life was spent 
in Michigan and in Des Moines, Ia. He grew to manhood in 
Colorado, his home being in Denver. He showed a roving 
disposition and spent much time in the Rocky Mountains, often 
staying out alone for months on his hunting and sketching trips. 
He studied the wild animals in their native haunts, and killed 
his first grizzly bear and bull elk when he was but sixteen years 
of age. He is a pupil of the French sculptors Puech and 
Angelbert, and is now in Paris modelling a colossal quadriga for 
the United States building at the Paris Exposition of tg900. A 
good number of the wild animals and groups which decorated 
the grounds and buildings of the World’s Fair at Chicago were 
made by Mr. Proctor, and he received a medal from the jury 
of award in the section of fine arts. Mr. Proctor is a Member 
of the Society of American Artists. 


ARTHUR QUARTLEY, N.A. 


oo QUARTLEY, the subjects of whose stirring ma- 

rines were generally found off the shores of the Isles of 

Shoals, was one of the first American artists to discover the 
63 


pictorial possibilities in New York Harbor. He made the pic- 
turesque effects of the bay and the docks and rivers the subject 
of a number of vigorous, freshly painted compositions, one of 
which, “‘ Morning Effect, New York Harbor,” was sent to Paris 
to represent him at the Exposition of 1878. He was born in 
Paris of English parents in 1839, was self-taught, and spent the 
early part of his artistic career in Baltimore. Later he removed 
to New York, and became a prominent exhibitor at the National 
Academy. He was elected an Academician in 1886, and died 
the same year in the full tide of his success as an artist. 


HENRY W. RANGER 


A LANDSCAPE painter whose work entitles him to stand 

among the leaders of the native school and who is first 
in the group whose tendencies are toward rich decorative effect 
and broad generalization, is Henry W. Ranger. He was born 
in Central New York in 1858, and is self-taught. He belongs 
to none of the art societies either at home or abroad except 
the American Water Color Society. His pictures are shown in 
a collection by themselves from time to time in some one of the 
smaller New York galleries, and the artist not having been a 
competitor for official honors or medals, has no prize record. 
He has visited Europe and studied the masterpieces of the 
ancient and modern schools, and has in the past six or seven 
years evolved a style of his own which is now probably defini- 
tive. The chief characteristics of his work are depth and rich- 
ness of tone, synthetic method, and fulness and strength of 
color. His execution is broad and forceful, and his pictures are 
notable for unity of effect and harmony of ensemble. Mr, 
Ranger’s sympathies in art lie with the masters who, like Jules 
Dupré and other great masters of tone, paint with a parti pris. 
He derives his facts from nature, and builds up his composition 
and obtains his effect by judicious elimination in some portions 
and concentration in others. ‘Thus he sometimes, with so simple 
a subject as a rugged hillside, casts a deep shadow over his fore- 

64 


ground, adjusts some strong, balancing notes in the middle 
distance where he has made the play of sunlight as warm and 
as brilliant as his rich pigments permit, and over all paints a 
sky intense in color and graduated subtly with lower values to 
the upper and outer parts of the canvas. In such effects, and 
in others less arbitrarily conceived, he succeeds in brilliant style 
in investing his compositions with great attractive force and 
rare individuality. His pictures reveal a logical, virile tempera- 
ment, and his methods are seen to be as sound and as solid as 
his conceptions are lofty and powerful. Some of the artist’s 
best known works are “ Becky Cole’s Hill,” “‘ Morning at High 
Bridge,” “‘ An East River Idyl,” “ Connecticut Woods,” “ New 
Jersey Oaks,” “A Clearing in the East Lyme Woods,” and “A 
Veteran.” ) 


F. K. M. REHN, A.N.A. 


RANK KNOX MORTON REHN, the well-known painter 
of marines and landscapes, was born at Philadelphia in 
1848, and is a pupil of the Pennsylvania Academy of Fine 
Arts. His first exhibition at the National Academy was in 
1879. At the St. Louis Exposition in 1882 he was awarded a 
first prize. A gold medal was awarded him at the second 
Prize Fund Exhibition at the American Art Association, New 
York, in 1886. He is an Associate of the National Academy 
and a Member of the American Water Color Society. His 
marine coast views and landscapes are vigorously painted and 
realistic in effect. His studio is in New York. 


WILLIAM T. RICHARDS 


ie is fair to say that no painter in the United States enjoys a 

wider popularity than William T. Richards. His delicately 

colored and beautifully drawn pictures of the ocean with the 

surf breaking on the beach in long symmetrical lines have 
65 


made for the artist many admirers and brought him assured 
financial success. He was born in Philadelphia in 1833, and 
began his art studies at the age of twenty. In 1855 he went to 
Europe, and on his return opened a studio in his native city. 
He is a Member of the American Water Color Society and an 
Honorary Member of the National Academy. A medal at the 
Centennial Exhibition in 1876, the Temple Gold Medal at 
the Pennsylvania Academy in 1885, and a medal of the third 
class at the Paris Exposition of 1889 are among the official 
honors of his career. Many of Mr. Richards’s pictures have 
for subjects the rocky shores about Newport, R. I., and the 
picturesque coasts and headlands of Cornwall, England. He is 
equally at ease in handling either the oil or water color medium. 
His studio is in Philadelphia. 


THEODORE ROBINSON 


HEODORE ROBINSON was well educated in the art 
schools, having been a pupil of M. Carolus-Duran and of 

M. Géréme, in Paris, during the five years from 1874 to 1879, 
but he was never an academic painter. ‘The unconventional 
and the novel in art appealed to him, and he sought inspiration 
in nature out of doors. He hada studio in New York from 
about 1880 to 1884, when he returned to France and spent 
several years at Giverny, where he came under the direct 
influence of Claude Monet, and the work he brought back to 
our exhibitions was, of course, dubbed “impressionistic.” It 
bore the mark of his own personality, however, and was in- 
variably distinguished by individual qualities. Having finally 
settled down in New York, he found in the later years of his 
life congenial themes for his brush along the Delaware and 
Hudson Canal, and interpreted American skies and atmospheric 
effects with as much veracity and subtlety as marked the 
Giverny landscapes. He painted figures in interiors and out 
of doors with charming simplicity and originality of color 
scheme. His work was regularly seen at the exhibitions of the 

66 


~—- 


Society of American Artists, of which he was a Member. In 
1890, at the exhibition of this society, he was awarded the 
Webb Prize for his “Winter Landscape,” and in 1892 at the 
same society received the Shaw Fund Prize for a figure subject 


. called “In the Sun.” Theodore Robinson was born at Iras- 
"burg, Vt., in 1852, and died in New York in 1896. 


ALBERT P. RYDER 


A NOTABLE place in American art is occupied by Albert P. 
Ryder, a painter of highly imaginative subjects, whose 
color schemes with their rich, resonant notes are distinctly 
individual, and whose manner of painting is entirely personal. 
He was born at New Bedford, Mass., in 1847, and was at first 
engaged in commercial pursuits. His first efforts at painting 
led him to become a pupil of William E. Marshall, the eminent 
engraver who had been a pupil of Couture, and probably Mr. 
Ryder formed his first conceptions of color from the teachings 
of his master, who must have been imbued with the spirit of 
the mellow tonality of the great Frenchman. Afterward he 
fortified his drawing by studying in the schools of the National 
Academy, and enlarged his views by trips to Europe to study 
the old masters in 1877 and 1882. “The Temple of the 
hind, ine sisters.’ §* Jonah and the Whale,’ “Christ 
Appearing unto Mary,” and “Charity,” titles of some of his 
characteristic works, give an idea of the scope of his subjects, 
while in landscape he gives evidence of the same idealistic 
bent that marks his figure compositions. Mr. Ryder is a 
Member of the Society of American Artists, and has his studio 
in New York. 


PLATT P. RYDER, A.N.A. 


| eens POWELL RYDER, a well-known genre painter, 

was born in Brooklyn, N. Y., in 1821. In 1869-70 he 

was a pupil of M. Bonnat in Paris, and he also studied in 
67 


Belgium and Holland. He was elected an Associate of the 
National Academy in 1869. His studio was in New York, and 
he died here in 1896. His “Boys Playing Marbles” was 
exhibited at the Paris Exposition of 1889, and attracted favor- 
able notice. Some of his other important works are “ Life’s 
Evening,” “The Welcome Step,” “The Bill of Fare,” “‘ Warm- 
ing Up,” and “ Watching and Waiting.” 


SARAH C. SEARS 


Sie C. SEARS (Mrs. J. Montgomery Sears) was born in 

Cambridge, Mass., in 1858, and took her first lessons in 
drawing at the Cowles Art School, Boston. She continued her 
studies in the class-rooms of the Museum of Fine Arts, and 
afterward in her home studio received criticisms from various 
prominent American artists. Mrs. Sears’s subjects, outside of 
her excellent work in portraiture, are generally ideal heads, and 
her favorite mediums are water color and pastel. Her pictures 
are notable for broad and effective handling and fine color har- 
mony. In 1893 she was awarded the William T. Evans Prize 
at the American Water Color Society for a beautiful creation 
entitled “‘ Romola,” and the same year received a medal for her 
work exhibited at the World’s Fair at Chicago. 


WALTER SHIRLAW, N.A. 


ee SEE Shearing in the Bavarian Highlands” and “ Ton- 

ing the Bell” were the pictures which introduced Walter _ 
Shirlaw to the American public in the historic year 1877, when 
a band of young artists, returning from Paris and Munich, 
started what has been called the ‘‘ American Renaissance,” and 
he has been a prominent figure in the native school ever since. 
He was born at Paisley, Scotland, in 1837, came to the United 

68 


States with his parents at the age of fourteen, and began life as 
a bank-note engraver. His practice in drawing stood him in 
good stead when, in 1859, he went to the Rocky Mountains and 
made studies of the grandiose scenery of that region, and in 
1861 he exhibited a picture at the National Academy. In 1870 
he went to Munich, where he studied with Roah, Wagner, Ram- 
berg, and Lindenschmidt, and painted several important figure 
compositions, which were highly praised by German critics. 
His work since his return to the United States has been of such; 
variety and excellence as to keep him in the front rank of 
American artists and gain for him many honors. He was one 
of the founders of the Society of American Artists and its first 
president. He is a National Academician, elected in 1888; a 
Member of the American Water Color Society and of the Chi- 
cago Academy, where, in the early part of his career, before 
going to Europe, he was an instructor. His easel pictures are 
marked by opulent color and fine composition. He is one of 
the few American artists who have successfully depicted the 
nude. His water colors and etchings have brought him high 
reputation in these branches of art, and his achievements in 
mural painting are shown in the important commissions he has 
executed in public buildings, such as the new Congressional 
Library at Washington. His style is individual, his drawing 
authoritative, and his work in all fields displays his scholarly 
accomplishments and technical skill. Mr. Shirlaw’s studio is in 
New York. 


R. M. SHURTLEFF, N.A. 


OSWELL M. SHURTLEFF, the well-known landscape 

painter, whose specialty is the depiction of wood inte- 

riors, was born at Rindge, N. H., and first studied art in the 

Lowell Institute, Boston. Later on he came to New York and 

continued his work in the schools of the National Academy. 

His favorite painting ground is the Adirondacks, and his pic- 
69 


tures of forest effects show the intimate knowledge of nature 
he has acquired by patient study coupled with fine artistic feel- 
ing. Mr. Shurtleff was represented at the Chicago World’s Fair 
by an important composition, “‘Woods in Autumn.” He is a 
National Academician, elected in 1890, and a Member of the 
American Water Color Society. He is a regular exhibitor at — 
the Academy, and has pictures in the permanent collections 
of the Metropolitan Museum, New York, and the Springfield, 
Mass., Art Museum. 


WILLIAM T. SMEDLEY, A.N.A., 


oan ee most widely known by his illustrative work—and 

in this field he stands in the front rank of our designers— 
William Thomas Smedley has always found time to give his 
serious attention to painting in color, both in oil and water 
color, and is a prominent contributor each year to the exhibi- 
tions of the Academy, the Society of American Artists, and the 
American Water Color Society. He is a member of all three, 
having been elected an Associate of the National Academy in 
1898. His work in the various branches of the pictorial arts 
is remarkable for truthful observation of nature, keen study of 
character, and excellent composition. Mr. Smedley was born 
in Chester County, Penn., in 1858, and received his first art 
instruction at the Academy of Fine Arts, Philadelphia. After 
his reputation as an illustrator was well established by his work 
for important New York periodicals he made a trip to Australia 
in their interests and afterwards went to Paris, studying there 
for two years in the art academies and public galleries. His 
first picture was exhibited at the National Academy in 1881. 
At the exhibition of the American Water Color Society in 1890 
he was awarded the William T. Evans Prize for a delightful pic- 
ture of American home life called “ A Thanksgiving Dinner.” 
His studio is in New York, and he also has a home and studio 
at Lawrence Park, Bronxville, N. Y. 

70 


ae 
~ 


GEORGE H. SMILLIE, N.A. 


SON of James Smillie, the celebrated line engraver, and 
brother of James D. Smillie, N.A., George H. Smillie 
was born in the city of New York in 1840. He is one of the 
most widely known of American landscape painters, and his 
pictures are characterized by poetic sentiment and _techni- 
cal skill of a high order. He is a pupil of James M. Hart, 
N.A. He has made sketching trips in the Rocky Mountains, 
the Yosemite Valley, and Florida, but the most popular of his 
subjects are those he finds in picturesque spots in the interior 
and along the shores of Long Island. Mr. Smillie was elected 
a Member of the American Water Color Society in 1868 and a 
National Academician in 1882. His studio is in New York. 


EDMUND C. TARBELL 


BRILLIANT technician, a progressive observer, and a 
colorist of distinction, Edmund C. Tarbell is one of the 

most prominent figures in the group of younger men who cast 
lustre on the American school. He was born in West Groton, 
Mass., in 1862, and when quite young proceeded straight to 
Paris to begin his art studies, which he pursued there in the 
ateliers of the Académie Julian under the direction of MM. 
Boulanger and Lefebvre. When he returned to the United 
States he took a studio in Boston, and belongs to the compara- 
tively small but able group of painters who reside in that city. 
He has a fine record as a prize-winner in the exhibitions in 
New York and other prominent cities, his list of honors in- 
cluding the Clarke Prize at the National Academy (1890), the 
first Hallgarten Prize at the same institution (1894), the gold 
medal of the Art Clubof Philadelphia (1895), a medal at the 
World’s Fair, Chicago (1893), medals at the Pennsylvania 
Academy of Fine Arts, and the Carnegie Institute, Pittsburg, 
and the Shaw Fund Prize at the Society of American Artists 
(1893). Mr. Tarbell was elected a Member of the Society of 

bits 


American Artists in 1887, but in 1898 withdrew to join the 
seceding body known as “’Ten American Painters.” Some of 
his principal works are “ Girl with Violin,” ‘The Bath,” 
“ Young Woman and Horse,” “The Gold Screen,” and “ Lady 
in Gray.” 


ABBOTT H. THAYER, A.N.A. 


BBOTT HANDERSON THAYER was born in Boston 
in 1849, and studied art in that city under Henry D. 
Morse ; in Brooklyn, under J. B. Whittaker; and in New York, 
under Professor Wilmarth, at the Academy of Design. He 
went to Paris in 1875 and worked in the Ecole des Beaux-Arts 
in the ateliers of Lehman and M. Géréme. His early predilec- 
tions were for landscape and cattle painting, and he has never 
abandoned landscape, but with the progress of time he became 
distinctively a painter of the figure. As such he is known to- 
day. His portraits and his subject and ideal pictures are, in 
conception, in manner, and in color schemes, among the most 
individual work in the American school of painting. With Mr. 
Thayer the study of character is an art factor of supreme im- 
portance. His compositions, such as “ Madonna” and “ Cari- 
tas,’ are dignified and lofty. His portraits are the acme of in- 
telligent synthesis. His single figures, such as “ Young Woman ” 
in the exhibition of the Society of American Artists in the spring 
of 1899, and even the slightest of his works, are suffused with 
_ artistic feeling and bear the impress of a strong temperament, 
revealing itself in every line and every touch of the brush. He 
paints roses with unrivalled tenderness and beauty of color, and 
invests all of his creations with an unmistakable vitality. He is 
a Member of the Society of American Artists, whose exhibitions 
have been for fifteen years the scene of his most notable suc- 
cesses. In 1898 he was elected an Associate of the National 
Academy. At the Paris Exposition of 1889 he was awarded a 
medal of the third class for his beautiful “ Winged Figure,” 
and in 1898 took the Clarke Prize at the Academy with a deli- 
72 


cately realized picture of a young woman exhibited under the 
simple title “ Portrait.” His home and studio are at Scarboro, 
on the Hudson, New York. 


WORDSWORTH THOMPSON, N.A. 


cad aaa of the subjects of A. Wordsworth Thompson’s pic- 

tures were taken from Italian scenes of life and manners, 
and from the scenery of that classic country. In the latter part 
-of his career he inclined to the depiction of native landscape 
and incident, and in all of his work he appears as an accom- 
plished master of his technical means. He was born in Balti- 
more in 1840. In 1861 he went to Paris, where he was a pupil 
of Gleyre, and afterwards of Emile Lambinet, the distinguished 
landscape painter. In 1864 he worked in the studio of Pasini, 
and in 1865 exhibited at the Salon his first picture, ‘‘ Moorlands 
of Au Fargi.” In 1868 he settled in New York, and soon 
achieved a distinctive rank in the art of America. He was one 
of the first members of the Society of American Artists, and was, 
in 1873, elected an Associate of the National Academy. His 
election as an Academician followed in 1875. Hedied in 1896. 


D. W. TRYON, N.A. 


A he can be no question as to the high place occupied 

in the school of American landscape painting by Dwight 
W. Tryon. Whenever and wherever the subject is mentioned 
his name is sure to be spoken as one of the masters. Since 
Inness, Wyant, and Homer Martin have passed away, Mr. Tryon, 
though yet a man of middle age, seems by common consent to 
have succeeded to a place such as was allotted to these worthies, 
and his admirable talent bids fair to long sustain him in the 
front rank, where so many artists of individual temperament 
and brilliant achievement are crowding each other for the 
highest honors. He was born in Hartford, Conn., in 1849, and 

73 


has enjoyed the advantage of a thorough training in academic 
drawing in the Paris atelier of M. Jacquesson de la Chevreuse. © 
He has also studied from nature out of doors with Daubigny and 
Harpignies. When he came to New York, after his sojourn in 
France, his work was almost immediately recognized as super- 
latively excellent, and his triumphs in the exhibitions have 
been numerous and emphatic. In 1889 he was awarded the 
Webb Prize at the Society of American Artists for “The First 
Leaves.” In 1886 he received a gold medal at the Prize Fund 
Exhibition at the American Art Association, New York, for 
“Daybreak”; in 1887 a Hallgarten Prize at the National 
Academy, in 1895 a gold medal at Munich, and in 1898 the 
first prize at the Carnegie Institute, Pittsburg. This is but a 
partial list of his official recompenses. He is a National Aca- 
demician, elected in 1891, and a Member of the Society of 
American Artists and of the American Water Color Society. 
His pictures combine poetic sentiment with sound technical 
methods, and are distinguished and veracious in color. His 
studio is in New York, but he spends the year, with the ex- 
ception of the winter season, at his country home at South 
Dartmouth, Conn. 


ALFRED M. TURNER 


CONTEMPORARY painter of genre subjects, especially 

in the water-color medium, Alfred M. Turner was in the 

eighties a conspicuous exhibitor at the National Academy and 

American Water Color Society. One of his representative pic- 

tures is “The Prayer,’ showing a mother and child engaged in 

their devotions amid the simple surroundings of a fisherman’s 
home. 


C. Y. TURNER, N.A. 


HARLES YARDLEY TURNER was born in Baltimore in 

1850, and received a solid foundation in art instruction 

at the schools of the National Academy and the Art Students’ 
74 


League, New York. In Paris he was a pupil of MM. Bonnat, 
Jean Paul Laurens, and Munkacsy. In 1882, when he returned 
from Europe and settled in New York, he exhibited for the first 
time at the Academy, attracting favorable notice and achieving 
a position at once with two figure compositions, entitled ‘‘ Scene 
on the Grand Canal, Dordrecht,” and “’The Days That Are No 
More.”  SBoth displayed the soundness of his methods and 
artistic quality of his vision. He has studied the history of our 
colonial period and painted some important pictures with epi- 
sodes of that time as their subjects, notable among them being 
“The Marriage Procession,’”’ now in the Metropolitan Museum, 
New York. As a portrait painter he is much appreciated for 
the sincerity and fidelity of his interpretations of character, and 
his numerous genre pictures attest the excellent quality of his 
color schemes and his skill as a draughtsman. Of late years he 
has given the greater part of his time to mural decoration. Im- 
portant work in this field has been executed by him for the large 
entrance hall of the Hotel Manhattan, the dining-room of the 
Astoria Hotel, and the vestibule of the new Appellate Court build- 
ing, New York. Mr. Turner is a National Academician, elected in 
1886, and a Member of the American Water Color Society. 
Among the awards he has received at the exhibitions is the 
second Hallgarten Prize at the National Academy in 1884. An 
honorable mention was conferred on his work shown at the Paris 
Exposition of 1889. Mr. Turner’s studio is in New York. 


CHARLES F. ULRICH, A.N.A. 


es ape GLASSBLOWERS,” “The Orphan Asylum,” “ An 


Amateur Etcher,’’ and some other figure works, 
depicted with great fidelity of detail, very skilful and com- 
prehensive execution, and agreeable schemes of color, exhib- 
ited by Charles F. Ulrich at the National Academy, sufficed 
to make for a young and theretofore unknown artist a repu- 
tation second to none as a painter of original genre and sub- 
ject motives. These were all shown from 1880 to 1884. In 

75 


the latter year he sent to the Academy his most important 
composition, and his place was from that time forward definitely 
fixed in the world of American art. This picture was “In the 
Land of Promise,” representing the large waiting-room in the 
old Castle Garden, with immigrants sitting on the benches or 
idly whiling away the weary hours standing about the room in 
conversation and smoking. In the foreground is the seated 
figure of a young mother with her infant child. This fine work , 
gathers all of the artist’s best qualities, and exhibits in a con- 
vincing manner the excellence of his technical methods, and his 
rare ability as a student of types of character. He was born in 
New York in 1858; studied under Professor Venino, a local 
drawing master, and in the school of the National Academy, 
and went abroad in 1873. He worked in Europe, principally 
in Munich under Professors Lofftz and Lindenschmidt, for 
seven years, and exhibited his first pictures in Germany. His 
success was marked when he returned to this country and estab- 
lished himself in a New York studio. The Clarke Prize at the 
Academy was awarded to him in 1884 for “ In the Land of 
Promise,’’ and for the same picture he received medals at the 
Paris Exposition of 1889, and the World’s Fair, Chicago, in 
1893. In 1886 he was awarded a $2,500 prize at the American 
Art Association Prize Fund Exhibition for his “ Glassblowers at 
Murano.” It became the property of the Metropolitan Museum, 
New York. He was elected an Associate of the National 
Academy in 1883. Several years ago Mr. Ulrich returned to 
Europe and, after a sojourn in Venice, went to Germany, and 
now lives in Munich. 


HENRY O. WALKER, A.N.A. 


HENY OLIVER WALKER was born in Boston, and 

began life in commercial pursuits in that city. His 

sympathy with art led him to take it up finally as a life profes- 

sion, and he went to Paris in the early eighties to become a 

pupil of M. Bonnat. His work there in the school and after- 
76 


ward in his own studio showed him to be possessed of a re- 
markable feeling for beauty of line and composition, and he 
made rapid progress toward complete achievement. Returning 
to the United States, he at first took a studio in Boston, and 
held a very successful exhibition of his work. A few years later 
he came to New York, and has been for a decade well known to 
the art public as one of the best equipped, most sympathetic, 
and imaginative of our artists. He is a Member of the Society 
of American Artists and an Associate of the National Acad- 
emy. At the exhibition of the latter institution in 1895 he was 
awarded the Clarke Prize for “ A Morning Vision.” In 1894 
at the Society of American Artists he obtained the Shaw Fund 
Prize for “The Singers.” ‘These compositions, like “The Boy 
and the Muse,” another celebrated picture from his easel, are 
remarkable for graceful, accurate drawing, refined color quality, 
and beauty of ensemble. Mr. Walker, apart from his reputa- 
tion as a painter of easel pictures, is well known for his impor- 
tant achievements in mural painting. He executed a series of 
compositions and single figures illustrative of lyric poetry for 
the new Congressional Library at Washington, and has recently 
completed an important piece of work for the new Appellate 
Court building, New York, representing Wisdom attended by 
Learning, Experience, Faith, and kindred allegorical person- 
ages. Mr. Walker received a medal and diploma for his work 
exhibited at the World’s Fair at Chicago in 1893. He has his 
studio in New York. 


HORATIO WALKER, N.A. 


poets and cattle are the favorite subjects of Horatio 

Walker, though in his rural scenes he sometimes intro-. 
duces horses, and he frequently paints sheep. He is a master 
painter. His style seems to have been formed on intelligent 
study of the modern Dutch school, but without imitation of 
anybody’s painting, and as he is almost entirely self-taught his 
own temperament has been the chief influence in developing 


if 


his art. His color schemes are in the highest degree harmo- 
nious, and he has a thorough knowledge of form. His work is 
distinctly personal, and possesses the body, consistency, inspira- 
tion, and technical excellence that entitles the artist to a high 
place in the art of our time. His “In the Meadow,” “Spring 
Ploughing,” and “Tree Fellers at Work,” to cite but three out 
of the very considerable number of his most successful works, 
have that attractive force and compelling power that belongs to 
the best forms of art, and his work, even when less important 
-than these pictures, is always sympathetically and vigorously 
artistic. He excels in the use of the water-color medium, and 
in this field has signed a host of delightful pictures. Mr. Walker 
was born in 1858. He is a National Academician, elected in 
1891, and a Member of the Society of American Artists and the 
“American Water Color Society. At the exhibition of the latter 
organization in 1888 he was awarded the William T. Evans 
Prize for “ Evening.” At one of the prize fund exhibitions at 
the American Art Association he obtained a gold medal. A 
medal and diploma were awarded to him at the World’s Fair at 
Chicago in 1893. At the Paris Exposition of 1889 his work 
was recompensed by the jury with a medal of the third class. 
His pictures are in many important private collections. Mr. 
Walker’s studio is in New York. 


J. ALDEN WEIR, N.A. 


ULIAN ALDEN WEIR is the son of Robert W. Weir, N.A., - 
the distinguished American artist, who was for a long time 
official instructor in drawing at the West Point Military Acad- 
emy, and was born there in 1852. Prof. John F. Weir, N.A., 
of the Yale Art School, is his older brother. He received his 
early instruction in drawing and painting from his father, and 
then went to Paris, where he was a pupil of M. Géréme at the 
Ecole des Beaux-Arts for several years. During his student 
days in France he was intimately associated with Bastien-Le- 
page and other young artists who afterwards became famous. 
78 


Mr. Weir returned to the United States with that strong body 
of Paris and Munich trained young men whose pictures ex- 
hibited at the Academy in 1878 made such a sensation, and 
was one of the founders of the Society of American Artists. 
He withdrew from that organization in 1898 to join the seced- 
ing group of painters who formed what is called the “Ten 
American Painters.” He was elected a National Academician 
in 1886 and is a Member of the American Water Color Society. 
He was awarded a $2,000 prize at one of the prize fund ex- 
hibitions at the American Art Association, New York, and has 
received honorable mention at the Salon and medals of the 
second and third class at the Paris Exposition of 1889. He is 
very catholic in his choice of subjects, and paints portraits, 
figure pieces, landscape, and still life with equal ability. His 
figure work is distinguished by artistic arrangement and agree- 
able color schemes. His landscapes are notable for truthful 
observation of nature, broad handling, veracious and luminous 
color, and harmonious tonal strength. One of his celebrated 
works in this field is “‘ Lengthening Shadows,” which was ex- 
hibited at the Paris Exposition of 1889 and at the International 
Art Exhibition in Munich in 1895. Mr. Weir’s studio is in 
New York, but he spends a good part of the year at his farm 
at Branchville, Conn., where he has a studio and does much of 
his landscape work. 


C. D. WELDON, N.A. 


ORN in Ohio, Charles D. Weldon studied art in New York 

at the Art Students’ League, and in London and in Paris 
under Munkacsy. He exhibited his first pictures at the Na- 
tional Academy in 1883. With the exception of a visit to 
Japan, where he painted several years, he has since been a 
resident of New York and identified with the art life of the 
metropolis. He was elected a National Academician in 1897, 
and is a Member of the American Water Color Society. Mr. 
Weldon’s usual subjects are found in the field of domestic 


79 


genre. He is also known as a painter of Japanese motives, and 
in all of his work gives evidence of his thorough training and 
artistic temperament. His water colors show skilful manipula- 
tion of the medium and are attractive in color and general 
aspect. 


WORTHINGTON WHITTREDGE, N.A. 


ORTHINGTON WHITTREDGE is one of the veterans 
of the American school, but his recent work preserves 
the vitality and vigor that characterized that of his earlier 
period. He was born in Ohio in 1820 and entered commercial 
life in Cincinnati, studying art in his hours of recreation. He 
finally took up the profession in earnest and became a local 
portrait painter of note. In 1850 he visited Europe, studying 
the masters in the galleries of London and Paris, and later 
entered the studio of Andreas Achenbach in Diisseldorf. He 
remained there three years, when he went to paint in Belgium 
and Holland and in Rome. In 1859 he returned to the 
United States and settled in New York. In 1861 he was elected © 
a National Academician, becoming president of the institution 
in 1874 and holding office for three successive terms. In 1866 
he made a sketching trip to the Far West. Mr. Whittredge is 
most widely known as a landscape painter, and his work is 
notable for excellence of composition, dignity of style, and 
frankness and simplicity of execution. He received an honor- 
able mention from the art judges at the Paris Exposition of 
1889. 


CARLETON WIGGINS, A.N.A. 


A CELEBRATED painter of landscape, cattle, and sheep, 

Carleton Wiggins owes more to his own development as 

an artist by intelligent study of nature, backed by a thoroughly 

artistic temperament, than to school instruction. He was born 
80 


at Turners, N. Y., in 1848, and studied drawing in the class- 
rooms of the National Academy, but when he began to paint he 
was his own master. He first exhibited at the Academy in 1870. 
He took a trip to Europe in 1880, and spent several years in 
the study of great works of art in the public galleries and in 
painting from nature in the country, and has gone back again 
once or twice for the same purpose. But his subjects are prin- 
cipally American motives, and his pictures carry the evidence 
of their truth to nature. His technical skill is great, his color 
is warm and vibrant, and his construction shows that he has a 
thorough knowledge of form. His pictures are highly appreci- 
ated and widely known, and his place in our art is definitely 
fixed. Mr. Wiggins is an Associate of the Academy, and a 
Member of the Society of American Artists, the Society of Land- 
scape Painters, and the American Water Color Society. His 
studio is in New York. 


IRVING R. WILES, N.A. 


RVING RAMSEY WILES was born in Utica, N. Y., in 
1862, and is the son and a pupil of the well-known artist 
Lemuel M. Wiles. From his father’s studio he went to the Art 
Students’ League, and from there to Paris. He studied two 
years in Paris at the Académie Julian under M. Lefebvre and in 
the atelier of M. Carolus-Duran. About 1879 he began to show 
his pictures in the New York exhibitions, and at once made his 
mark. He is well known as a painter of portraits, figure pieces, 
genre, and out-of-door scenes. In water color he displays sur- 
passing skill, his handling of transparent washes being almost 
phenomenally clever. His drawing is accurate and subtle at 
the same time, and his color schemes show agreeable harmonies 
of tint. Mr. Wiles was elected a National Academician in 1897. 
He isa Member of the Society of American Artists and the 
American Water Color Society. He took the third Hallgarten 
Prize at the Academy in 1886, and the Clarke Prize in 1889 for 
his beautiful composition “ The Sonata.” For the same picture 
8I 


he received a medal at the World’s Fair at Chicago in 1893. 
At the Paris Exposition of 1889 he received honorable mention. 
At the Water Color Society in 1897 he was awarded the William 
T. Evans Prize for his picture “The Green Cushion.” Mr. 
Wiles has his studio in New York. 3 


A. H. WYANT, N.A. 


| Eee and Wyant! We constantly hear these two great 
names coupled whenever American landscape painting is 
discussed, and by common consent they are placed at the top. 
How different their work is; how different in conception, first 
of all, and how different it is in carrying out the conception, 
all those understand who know the pictures of both. Less of 
a synthesist than Inness, but yet painting very broadly and 
comprehensively while retaining detail, Wyant, in his land- 
scapes, almost hesitates to make nature meet his purpose, and 
generally makes his means provide the way to hold on to her 
truth, and at the same time translate her mood into his own ex-_ 
pression. A very strong colorist, he never indulges in unctuous 
richness, but paints soberly and with great reserve force the 
strongest and most brilliant of his effects. He loved the gray 
skies and sombre tints of November, the subtle mystery of twi- 
light, and the fading glory of the sunset. But when the mood 
was on him he depicted with cheerful, buoyant color the pleas- 
ant atmosphere of midday, or the fresh, clear tints of the foli- 
age with its bath of dew drying in the morning sun. One of 
his greatest pictures is “In the Adirondacks,” a forest effect 
with a stream in the foreground, painted with the midday light 
illuminating the recesses of the forest and bringing out the hun- 
dred tints of green and gray of the leaves and trunks of the 
trees and the carpet of grass and moss. In every effect he 
painted he was veracious, and in every canvas he signed he 
put his deepest feeling. 
Alexander H. Wyant was born in Ohio in 1836, and at the 
age of twenty was painting with considerable skill. He spent 
82 


some years in Diisseldorf in academic study, and all the rest of 
his art he taught himself with nature for his guide. He went to 
the Adirondacks early in his career, and many of his best 
works were painted from motives found in that region. He was 
elected a National Academician in 1869, and was a founder 
Member of the American Water Color Society. He died in 
1892. His pictures are in numerous private collections and in 
several public galleries. ‘View in County Kerry” is in the 
permanent collection of the Metropolitan Museum, New York. 


WILLIAM A. COFFIN. 


83 


CONDITIONS OF SALE. 


1, The highest Bidder to be the Buyer, and if any dispute arise © 
between two or more Bidders, the Lot so in dispute shall be immediately 
put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and, therefore, in his judg. 
ment, likely to affect the Sale injuriously. : 


3. The Purchasers to give their names and addresses, and to pay 
down a cash deposit, or the whole of the Purchase-money, i/ required, 
in default of which the Lot or Lots so purchased to be immediately - 
put up again and re-sold. 


4. The lots to be taken away at the Buyer’s Expense and Risk ufon | 
the conclusion of the Sale, and the remainder of the Purchase-money to - 
be absolutely paid, or otherwise settled for to the satisfaction of the 
Auctioneer, on or before delivery ; in default of which the undersigned 
will not hold themselves responsible if the Lots be lost, stolen, damaged, 
or destroyed, but they will be left at the sole risk of the Purchaser. 


5. While the undersigned will not hold themselves responsible for the 
correctness of the description, genuineness, or authenticity of, or any fault 
or defect in, any Lot; and make no Warranty whatever, they will, upon 
receiving previous to date of Sale trustworthy expert opinion in writing 
that any Painting or other Work of Artis not what tt is represented to be, 
use every effort on their part to furnish proof to the contrary, failing in 
which, the object or objects in question will be sold subject to the declara- 
tion of the aforesaid expert, he being hable to the Owner or Owners 
thereof, for damage or injury occasioned thereby. 


6. ‘To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of the Purchases, no Lot can, on any account, be removed during 
the Sale. 


7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared within 
one day from conclusion of Sale shall be re-sold by public or private 
sale, without further notice, and the deficiency (if any) attending such 
re-sale shall be made good by the defaulter at this Sale, together with 
all charges attending the same. ‘This Condition is without prejudice 
to the right of the Auctioneer to enforce the contract made at this 
Sale, without such re-sale, if he thinks fit. 


THE AMERICAN ART ASSOCIATION, 


THOMAS E, KIRBY, MANAGERS, 
Auctioneer. 


FIRST EVENING’S SALE 
WEDNESDAY, JANUARY 31, I900 
AT CHICKERING HALL 


BEGINNING AT 8 O'CLOCK 


CATALOGUE  .- 


FIRST EVENING’S SALE 
WEDNESDAY, JANUARY 31, 1900 


AT CHICKERING HALL 


BEGINNING AT 8 O’CLOCK 


Kid Ah, flroed I 
SERNEST- PARTON 


/: £ a On the Arran 


A charming Scotch landscape, with a river in the foreground with 
slender trunks of birches and clumps of full-foliaged trees on its grassy 
banks. A hill with graceful contours fills the middle distance, and over 
all is a sky of pale blue, with white clouds piled up at the horizon. Fresh 
and delicate in color and charming in composition. 

Signed atthe right. Dated, 1880. Height, 17 inches ; length, 27 inches. 


bh Pz 4d vo 2 


C HM: CHARLES C. CURRAN. 
aso” The Old Straw Stack 


The great heap of straw fills the entire right half of the composition, 
relieved against the gray sky. Four little children are having a frolic in 
sliding down its sides to fall sprawling in the soft bed below, where the 
straw lies piled thick about the base of the stack. Agreeable in color 
and attractive in subject. 

Signed at the left. Dated, 1890. Height, 18inches; length, 22 inches. 


3 et 
mi THOMAS HOVENDEN _ fe :Mb 
Jo: 


A Brittany Image Seller 


The image seller, with his embroidered Breton jacket of dark blue, 
stands in the street at a window where are a woman and a child. He 
holds up one of his images for inspection as he offers it at a bargain. 
Sober color and sound drawing and painting characterize this excellent 
piece of genre. 


Signed at the left. Dated, 1878. Height, 18 inches; length, 13 inches. 


4 
SO” 4 FRANCIS MURPHY 
A Cloudy Autumn Day or | 


A brook in the foreground winds through the meadows.” In the 
middle distance, on the right and left, are clumps of trees. A sky of © 
broken gray clouds. Very tender in color and full of the sentiment of 
the autumnal season. 


Signed at the right. Dated, 1899. Height, 14 inches; length, 19 inches. 


5 Pe | 
| mo0 WILLIAM H. HOWE. i. ; é 
al In the Orchard 7 


I 5 \ Four or five calves stand under an apple tree or lie comfortably in the 
\ shade nearby. A red-and-white one and a black-and-white one stand in 
iit the immediate foreground, and form the main feature of the composition. 
They are admirably painted, and the landscape setting, with its greens 
in sunlight and shadow and gray tree-trunks, is in harmony with the red, 
black, and white of the young cattie. 


Signed at the left. Dated, 1898. Height, 16 inches ; length, 20 inches. 


6 


ae Pred | 
Wh. J. G. BROWN 


Wt 
—/_," 
hs} 6 iE The Fruitseller 


A bright-faced boy in his shirt-sleeves stands on the sidewalk of a 
city street crying his wares, which consist of rosy-cheeked apples. He 
holds up two in one hand, while with the other he grasps several others 
snugly against his body. The lad’s honest face proclaims him to be 
above the average of the street gamin, and he seems to have in him the 
making of a successful man. 


Signed at the left. Dated, 1879. Height, 30 inches; length, 20 inches. 


= 


Ll oofy.” 9 ir 


fyyt tn GEORGE H. SMILLIE > 
‘& | “f 
Mm pre A Long Island Farm 


The farm fields lie on sloping ground at the left. Pastures fill the 
foreground, where some ducks are sitting in the grass near a pool. On 
i the right a clump of trees and on the crest of the hill a windmill. The 
| farmers are loading wheat on awagon. A harvest pastoral characteristic 
in treatment and attractive in color. 


Signed at the left, Height, x19 inches ; length, 33 inches, 


| my. 8 
| c a SANFORD R. GIFFORD 


The Villa Malta 

One of Sanford Gifford’s famous works, engraved in Harper's Weekly, 
and widely celebrated. The reddish-yellow walls and tiled roofs of the 
Villa Malta appear with striking effect against a sky of cloudless, deep 
blue. In the foreground the top of a wall encloses the garden which 
surrounds the villa. A fine architectural study with attractive pictorial 
quality. 

Signed at the left. Dated, 1879. Height, 13 inches; length, 27 inches. 


9 “ 
ARTHUR PARTON 


A Highland Home, Loch Lomond 


A low-roofed, thatched cottage by the shore of the lake, with a bridge 
over the brook, in the foreground. On the farther shore the mountains 
are wreathed in mist, and the light from the sky falls in a silver streak 
on the water. Fresh and delightful in color. 


Signed at the left. Height, 14% inches ; length, 21 inches. 


Io 


a 


9 30 / 296.7 R. A. BLAKELOCK ACF é 


Early Evening 


A lake occupies the foreground. In the middle distance are hills and 
clumps of trees. In the evening sky, with warmly tinted white clouds, 
the pale moon rises, and its light is reflected in the water. Fine atmos- 
pheric effect and an attractive color scheme. j 


Signed at the right. Height, 16 inches; length, 24 inches. 


Ad By 
F. K. M. REHN c.M.a | 


Ove ” 
: Springtime 

Through rolling country diversified by clumps of trees flows a 
) brook with steep banks. The sky is whitish gray, and the spring- 
time effect is truthfully rendered. Excellent in color and frankly 
painted. 


Signed at the right. Height, 16 inches; length, 28 inches. 


al F. S. CHURCH 

Pandora J 

(Water Color) V * 
This celebrated picture was the ‘‘ star attraction ” of the Water Color 
Society’s exhibition of 1884. It was exhibited at the Chicago World’s 
Fair in 1893, and was engraved for a frontispiece in Harper's Magazine 
in 1885. It is one of the most original and most charming of all Mr. 
Church’s creations. Pandora, a slender girl with dark-brown hair and 
clothed in thin garments of rose-color, has opened the mysterious chest, 
and the genii and sprites are making their escape. In the picture she 
is seen on her hands and knees on the lid of the coffer, pressing it down 


by her weight, and the gnomes are making off while they may, disappear- 
ing in the air in hurried flight. 


Signed at the left. Dated, 1883. Height, 27 inches; length, 15 inches. 


oti‘ | 


FRANCIS D. MILLET 
After the Festival 3 m 


Laer 


ce 


A young woman, blond in type, with a wreath of roses on her head 
and clad in Greek draperies of white and salmon-pink, is sitting pen- 
sively on a marble bench, her head leaning on her right hand, and hold- 
ing a tambourine beside her with the left. A fluted column behind her 
suggests that she is in the porch of a temple, and in the background ap- 
pear the trees of a groveand a bit of blue sky. Beautifully painted and 
very attractive in character and color. 


Signed at the left. Dated, 1888. Height, zoinches; length, 16 inches. 


pee 


mire 4 
Vag C. Y. TURNER 
Althea 


A young woman in summer gown of white with a pink sash ribbon 
reaches high above her head to pluck the flowers from a rose of Sharon 
tree which grows in a picturesque Easthampton door-yard. The sun- 


ole 


/ 000. 


light filters through the trees and falls in bright patches on the grass, 


Graceful in action and soundly painted. This is one of the rare exam- 
ples of Mr. Turner’s out-door genre pictures. At 


Signed at the left. Dated, 1884. 


Height, 30 inches; length, 20 inches. 
* 


15 : # Wi Le 
“LTO. WORDSWORTH THOMPSON ; q 
Halt of the Diligence 


A scene in Italy. The coach has stopped for a moment on the high. 
road, and a peasant woman, with a child beside her, is seen at the door 
soliciting a few coins from the English travellers. She has a guitar 


slung over her shoulder, and apparently asks foralms in return for her 


music. The picturesque Italian landscape is in full sunlight, and the sky 
of blue shows a few white clouds. 


Signed at the left. Dated, 1882. 


Height, 18 inches; length, 24 inches. 


: q 
16 P| 

20.7 J. B. BRISTOL LA Ware : 
vi Old Bridge, Upper Connecticut | a 


A charming New England scene, with an old covered bridge crossing 
the river in the middle distance. Beyond, a meadow with distant hills. 
Hh ; A sky of blue with white ridges of cloud at the horizon. A charming 
ie and original example of a very popular painter. 

Signed at the right, Height, 8 inches; length, 16 inches. 


17 
[Lb ig F. S. CHURCH 


~ ae | 
a aay ae o “Who Are You?” a Kt foe 


On the ocean beach, where the tide encroaches on a tongue of land, 
stands a little girl with pail and shovel, greatly surprised by the appari- 
tion of a child mermaid who emerges suddenly from the waves. The 


meeting is a strange one, and the artist has depicted it in a pretty com- 
position with a color scheme of light tints. 


Signed at the right. Dated, 1885. 


Height, 11 inches ; length, 16 inches. 


18 
A. H: WYANT. ie 


“u- we Y An Irish Landscape ! 


A road leads into the picture through a valley to a lake in the middle 
distance. Beyond are high hills enveloped in vaporous clouds. The 
sky of broken white clouds hangs over the landscape and is full of 
misty tenderness of color, The general aspect of this picture is exceed- 
ingly fine, and its splendid quality makes it a very choice example. 


Signed at the right. Dated, 1877. Height, 12% inches; length, 20% inches. 


| 
; 
| 
| 


19 3 
mp’ igh SIDDONS MOWBRAY ae 


6 0: -. Mei VOR 


In a garden enclosed by a low stone wall and bench three young girls, 
partly draped in fine, figured stuffs, are grouped on the grass and play 
on musical instruments. One with a violin is standing up. On the 
bench at the right is another maiden with a lyre, and a companion on 
the other side of the wall leans over it to talk with her. Over alla 
sky of tender pink and pale blue. This isa well-known and important 
work, delightful in composition and very attractive in color. 


Signed at the left, Height, 17 inches ; length, 26 inches. 


ght CHARLES H. MILLER 


‘gs J J. An Old Mill, Long Island 


The mill stands at the right of the composition, with the race cross- 
ing the picture from the left. The old building is embowered in trees. 
The sky is filled with great masses of white clouds, and at the right 
upper corner there is a patch of blue, characteristically dark and rich 
in color. 

Signed at the right. Dated, 1899. Height, 12 inches; length, 24 inches. 


21 


(Dy 0.” FREDERICK W. KOST 


* 


Evening—Westport Point, Rhode Island 


An old pier juts out into the sea at the left, and a shallop is coming 
forward in the middle distance, its dark body forming a strong note near 
the centre of the composition. Beyond, the wide expanse of water is lit 
up by the moon, which rides high in the sky amid the dark clouds. Very 
simple in motive, this is a picture of great power and a very distinguished 
piece of color. 


Signed at the right. Height, 28 inches; length, 22 inches. 


22 a 
F. S. CHURCH if fll 4 
I ? . = 


1a 
| 2 cy kt oe : 
ees Sea Sirens 


Four beautiful sea nymphs are seen in this charming composition in 

; a group amid the waves. Their long blond hair floats over their shoul- 

{ ders as they come forward, gracefully moving through the water. The 
\ two behind are blowing on conchs, and she who is farthest in the rear 
‘ leans gracefully backward, buoyed up on the bosom of her native element. 


Signed at the left. Dated, 1897. Height, 16 inches; length, 22 inches. — 


yes ’ W. GEDNEY BUNCE | for 
| 0: fs i, | 
Morning in Venice a 


A very beautiful example with clear, fresh, and tender color. A fleet” 
of fishing-boats with dusky red and orange sails are picturesquely placed 
on the left, where a point of land juts out into the water from the right, 
and a cluster of piles marks the landing-place. In the offing a steamer 
and a fleet of boats. The sky of breaking and dissolving gray and 
white clouds fills the rest of the canvas above the low horizon. 


Signed at the right. Dated, 188s. Height, 14% inches ; length, 17 inches, 


24. 


Yu W. T. RICHARDS 


; Near Atlantic City 
ye mo (Water Color) 


A fine little picture showing the water spread out over the beach with 
wide, glassy surfaces as the waves come rolling in with monotonous — 
regularity. The gray sky shows the sunlight breaking through. Care- 
fully and accurately drawn and highly finished. 


Signed at the left. Dated, 1876. Height, 9% inches; length, 14 inches. 


ae 
ne 


a 
Pe 


aD Val 25 
OK: R. L. NEWMAN 
R. i ee 

rs Madonna and Child 


Full-length figure of the Madonna, with robes of blue and red, hold- 
ing the infant Jesus in her arms. Background of sombre landscape. 


Signed at the left. Height, 13 inches; length, 9% inches. 


26 


yw" GEORGE H. BOUGHTON 
yr a Gas. Divided 


Here is a pair of young amoureux called upon to choose ‘‘ ’twixt love 
and duty.” In a woodland path, where they have been strolling, the 
guardian sister, in robes of black, and white coif,; has appeared, and is 
leading off the pretty girl, admonishing her meanwhile, leaving the 
swain, in his gay costume of red, disconsolate. Dejectedly he holds still 

' in his hand the nosegay intended for his sweetheart. The story is 
charmingly told, and, artistically, the picture is remarkable for its re- 
“served, forceful color and interesting composition. 


66 9. 


Signed at the right. Height, 15 inches; length, 20 inches. 


oo 27 


A A. M. TURNER | | 
age The Prayer ff 
o | a. oy) ve G. (Water Color) 


D A figure, painted in three-quarters length, of a young mother hold- 
ing her babe in her arms, while her face, uplifted, shows an expression of 
devout supplication. 


Signed at the left. Dated, 1888. Height, 21 inches; length, 1414 inches. 


Tune Ss * 


, anv GEORGE INNESS yt 


7 *“ Montclair by Moonlight 
.- 
The full moon appears in the sky, behind the trees, and its radiant 
beams flood the landscape. In the middle distance, a streak of light on 
the river. A village in the valley, with houses embowered among the 
trees. 


by 


Signed at the right. Height, 16 inches; length, 24 inches. 


29 


.” MARIA A’ BECKET ge aurt 


Massachusetts Coast 


A declivity on the right slopes down to the sea. Two stunted and 
storm-beaten oaks and a clump of bushes appear at the top of the slope, 
and the sea rolls inshore with turbulent force, breaking on the rocks be- 
low. The sky shows a great mass of white and gray clouds, with blue at 
the upper corners of the composition. Very strong in color and dra- 
matic in effect. 


Signed at the right. Height, 22 inches; length, 30 inches. 


A C. SEARS wh 


Re, V6 sd Romola eis 


(Water Color) 


A bust portrait of a beautiful young woman with blond hair, in an - 
evening gown of black. Noble in type, refined in expression, and pos- 
sessing admirable qualities of color. Awarded the William T. Evans 
Prize at the American Water Color Society, 1893. 


Signed at the upper left. Dated, 1893. Height, 30 inches; length, 22 inches. 


31 
C. HARRY EATON 
A Normandy Landscape 


aed 


The meadow which occupies the foreground is traversed by a brook, 
which in the middle distance flows past a farmhouse on the left embow- 
ered among the trees. Overhead a noble sky with finely drawn masses 
of white cloud. Cool and restrained in color and very attractive in general 
aspect, this is one of Mr. Eaton’s most beautiful and successful land- 
scapes. Exhibited at the Paris Exposition of 1889, and at the World’s 
Fair, Chicago, in 1893. 


Signed at the right. Dated, 1885. Height, 24 inches ; length, 36 inches. 


was : 32 
i 
7 _ LOUIS MOELLER wt 


Bluffing \ial OA 


A party at the game of poker, where seven or eight men are seen 
about a table in a room handsomely furnished and with pictures on the 
walls. On a low table in the foreground are glasses and decanters. The 
men are in their shirt-sleeves, and the scene is a convivial one, depicted 
with plenty of detail, but the general effect is broad and comprehensive. » 


Signed at the right. Dated, 1894. Height, 30 inches ; length, 42 inches. 


2 33 
r,\.« ,¥PHOMAS MORAN 


sh OF. \l ye A Dream of the Orient 


A group of splendid boats and barges with a castellated nt rising 
from the sea behindthem. On the left other high palace walls, and on the 
right a donjon tower, ships, and gondolas in the distance. The water 
reflects on its mirror-like surface all the beautiful colors of the sails and 
| buildings, and the whole composition is wrapped in a morning. mist. 
This picture is highly imaginative in conception and very decorative in © 
color. Exhibited at the Centennial Exhibition, Philadelphia, 1876. — 


_ Signed at the left. ‘Dated, 1876. Height, 33 inches ; length, 50 inches. 


tL SO-" 34 | lit pate : 
nt _h GEORGE H. BOGERT Hy. ; 
Ww V Autumn Morning, Plymouth, Mass. 


‘ Rising ground on either side in the foreground, with a little stream 
\I leading into the middle of the picture. This portion of the composition 
is in shadow, and a tree with brown foliage comes against the sky with 
fine effect. The distance, showing a plain and a range of hills, is in sun- 
light, and the sky shows banks of white and gray clouds with an expanse 
of tender blue near the top. Harmonious in color and unified in effect. 


Signed at the right. Height, 28 inches ; length, 36 inches. 


ut ‘ fs 
e re O 35 
ax ARTHUR QUARTLEY f 
Va ~ oM orning—New York Harbor i 


In the lower bay off Coney Island Point, now known as ‘‘ Sea Gate,” 
are several vessels and barges in a group, moving slowly with the slug- 
gish breeze. A high sky is clouded with gray and white, and the glassy 
water reflects the warm white and yellow of a large sail on the right. 
Effectively composed and striking in color, this is a representative work 
by a famous painter of marines. 


Signed at the right. Dated, 1880. Height, 20 inches; length, 36 inches. 


f 
ne aaa 


5 rat Rape ee eee ee ee ee ee i i al at 
ela ptm Pe em ear i ew ik tee one ee 


HORATIO i W ALKER \/ a a 


In the Meadow i 


_ A level plain traversed by a brook, with a row of willow trees reced- 
ing into the distance, a poplar and a clump of thickly foliaged trees at 

_ the right, and a few low-roofed houses. In the foreground, lying down in 
the grass, are a white and a black cow. Over all a luminous gray sky. — 
A fine composition, an admirable piece of landscape and cattle painting, 
a lovely harmony of color, and a work of the most distinguished general 
aspect. It is in every respect worthy of Mr. Walker’s high reputation, 
and is certainly one of the most complete and beautiful of his works. 


Signed at the left. Height, 183g inches; length, 26 inches. 


37 


a 4. 
4 bpna LOUIS PAUL DESSAR apt 
ar Df. i ae 

, / ay Sheepfold at Night ye 


The sheep, crowded together in the park, fill the foreground, their 
woolly backs showing white under the light of the moon. The shepherd 
stands among them, and beyond are two great haystacks, whose conical 
masses are in silhouette against the clouded night sky. Exceedingly 
poetic in feeling and in treatment, this picture presents, with true artistic 
excellence, a rural scene of great beauty. 


Signed at the right. Dated, 1897. Height, 13 inches; length, 18 inches. 
38 
t Lo, 
hh nl 4 MARIA BROOKS =p, © [ 
; a % de 


/ 54 re “Very Careful” 7: 


A little girl in long skirt, apron, and white sun-bonnet is carrying on i 
a tray a cup of coffee or other liquid refreshment. She takes her steps 
carefully, and with bent head keeps watch on her precious burden. 


Signed at the upper left. Height, 14 inches; length, 9 inches. 


Ne 39 CM 


car . FREDERICK DIELMAN 


pe! rae La Chatelaine “ 


Head of a beautiful young woman, whose head-dress of white is sur- 
mounted by a wide velvet hat of gray. The bodice shows rich metal 
embroidery. Charming in type and painted with great delicacy of touch 
and refinement of color. 


Signed at the right. Height, ro inches; length, 8 inches. 


- ; 40 | 
0 205 _. wt DAVID JOHNSON vy yp A Ke 


i forge 
i ord i Connecticut Landscape 


ig The composition shows a great tree with wide-spreading branches in 
i the immediate foreground. On the left is a pond with cattle standing in 
the shallows, and a stretch of landscape ; on the right, meadows hemmed 
in by a row of forest trees. The sky is filled with broken masses of 
white clouds, among which there are glimpses of blue. Remarkable for 
elaborate finish and unity of general effect. 


Signed at the right. Height, 12 inches; length, rs inches. 


a FREDERICK A. BRIDGMAN 
\{ e/ o - 


A cabinet picture of an Oriental beauty, with a white veil-dropping 
from her face and disclosing her lovely features. In her hand she holds 
some flowers, and her shoulders are covered by a wrap of terra-cotta 
color. A fine little example, very skilfully painted in the artist’s best 
manner. 


A Lady of Constantinople 


Signed at the right, Dated, 1881. Height, 14 inches; length, 1034 inches. 


42 
ALBERT P. RYDER 


“0 ies toga 


Meadows and hills, with a tree on the right, near which stand two 
figures, a woman and a child. The sky shows large masses of clouds. 
The tone of this picture is mellow, and the atmospheric effect of hazy 
autumn is well rendered. 


Autumn Landscape 


Signed at the left, Height, 18 inches; length, 24 inches. 


R. we 43 


CHARLES MELVILLE DEWEY yt 


aed * 


The Harvest in the Midlands 


A man and a woman are at work in a wheat field in the foreground. 
Beyond lie gently sloping hills, and there are groups of trees in the 
ravine in the middle distance. The sky is full of clouds, lighted up in 
the upper portion by the sun. Tender in color and unified in general. 
effect. 


. Signed at the left, _ Height, 20 inches ; length, 30 inches. 


44 

yA WILLIAM A. COFFIN | A *° 
. | : 

3S ¥ Ny Evening, Somerset Valley 


A grassy valley, intersected in the middle distance by groups of 
trees, with a prospect of forest and hills beyond. The sky is covered by 
a thin veil of clouds, lighted up in rifts by the setting sun. Space and 
atmosphere characterize the picture, and the color, with rich greens in 
the foreground, blue and purple in the hills, and warm grays and opales- 
cent tints in the sky, is truthful and effective. 


Signed at the right. Height, 30 inches; length, 40 inches. 


~~ 45 ae | 


* H. W. RANGER ok 
/f od“ Connecticut Woods 


A deeply toned picture, with a wealth of color. The sunlight falls 
on a grand old tree with spreading branches, in the centre of the com- 
position, and the surroundings are subordinated to give value to this 
motive. Fine in color, and a splendid example. 


Signed at the left. Dated, 1897-99. Height, 28 inches; length, 36 inches. 


i; \4 / | — 72 po ee ee 


T ave 
No Dyprode “The Reflection Ye 


A young girl, nude, stands beside a pool, and with a delicious move-. 
ment of the arms extended, half balancing, half expressive of timidity, 
prepares to put her foot in the water. ‘Tall reeds on the shore of the 
pool, a stretch of meadow, and a thick clump of trees, furnish the setting 
for this delightful creation. The figure is drawn with a thorough feel- 
ing for style, and is beautifully and simply modelled. It is lovely in 
color, and the entire composition is admirable in its unaffected, genuine 
poetic feeling. One of the finest idyllic pictures the American school 
can show. 


Signed at the left. Dated, 1890. Height, 30 inches; length, 25 inches. 


47 
ay J. FRANCIS MURPHY 


Sundown 


A road leads into the picture, winding over a plain. In the right 
foreground are several trees with autumnal foliage. Other trees on the 
left in the middle distance. A cloudy evening sky of gray clouds and, 
at the horizon, a band of golden light. Fine color and effective general 
aspect. Exhibited at Munich, 1895. 


Signedat the left. Dated, 1886. Height, 16 inches; length, 22 inches. 


48 


a I Ave’ ‘W. L. LATHROP ae 


A November Evening 
(Water Color) 


An old barn, gray and weather-beaten, stands in the foreground. The 
effect chosen by the artist for the depiction of this simple motive is one 
of evening, with a sky of gray clouds, illuminated at the horizon by a 
rosy streak of light where the sun is setting. One of Mr. Lathrop’s 
characteristic pictures, possessing fine quality of color, and remarkable 
for its poetic sentiment and forceful treatment. 


Signed at the right. Dated, 1896, Height, 164 inches ; length, 214 inches. 


49 


tA Wor] White Swans and Pink Lilies Fo 
| “ iY 7 (Water Color) 


A charming decorative picture, wherein, at one end of the long panel, 
a maiden, in pale-pink draperies, stooping over on the shore of a pond, 
the surface of which is thickly dotted with lily padsand blossoms, reaches 
out her hand to feed the foremost of a long procession of swans. 


Signed at the left. Dated, 1886. Height, 12 inches; length, 36 inches. 
ai’ 
“4 a O ® 
g f 5 : 4 
) | ~ 
tt. A.H) WYANT... of 


‘1 _a Oe 
J | Solitude 


A view over the dunes, with an old road leading from the foreground 
‘into the picture through a gap in the line of trees which is seen at the 
left. A solitary house appears on the horizon in the right centre. The 
landscape is dark and dreary undera leaden sky of gray, broken up in 
the lower part by white cloud-masses, with a little patch of blue. Uni- 
fied in effect and dramatic in general aspect. 


Signed at the right. Height, 16 inches; length, 24 inches, 


51 rf UW 
ae ‘ GEORGE INNESS J Vp A 


Pay 


The level foreground of meadow leads to a dark group of trees and 
buildings, with a few lights in the windows on the right. The upper 
part of the sky is overcast with dark clouds. Nalf way up from the 
horizon, in a clear space, the full moon seems to slowly rise towards the 
i clouds above. The scene is wrapped in the beautiful mystery of the 
night, and the color scheme is rich and resonant. A work of fine poetic 
| feeling. 


Moonlight 


: \ Signed at the left. Dated, 1890. Height, 16 inches; length, 24 inches. 
by 


: 52 
ly n a? ze na ROBERT C. MINOR wee din? 
Ady 


A ey [ | “ KS af: °’The Hunter’s Moon 


A deep valley, with hills filling Che ease at either side. Tree- 
\J forms are indistinctly seen in the half-light of the moon, which, partly 
veiled by clouds, peeps over the high hillat the left. A poetic and effec- 

tive rendering of the night. 


Signed at the right. Height, 18 inches; length, 24 inches, 


ye 53 
cocina he Sg R. M. SHURTLEFF 


Woods in Autumn 


A forest effect, with the trunks of trees, large boulders, and a pool in 
* the brook in the foreground. Farther into the picture are the green 
; Nf foliage lighted up by the sun and a bit of sky appearing through the 
leafy recesses of the woods. Charming in color and eminently truthful 
in effect. This picture represented Mr. Shurtleff at the Chicago World’s 
Fair in 1893, and was his sole exhibit. 


Signed at the left. Height, 20 inches; length, 25 inches. 


54 


ey EDMUND C. TARBELL ~ prt 
Oa4 Girl with Violin 


_A young woman in evening dress of black, seated in profile, playing 
the violin. The action of the figure is exceedingly graceful, and the 
face is one of fresh and girlish beauty. The bare neck and arms are 
painted with simple modelling and great beauty of color, and the work 
as a whole is full of distinction and charm. 


Signed at the left. ; Height, 24 inches; length, 19 inches. 


pi 55 : | 
WALTER SHIRLAW wr 
37 y jd¥ 
a ao 3: Water Lilies a 


An idyllic subject with a group of three nude female figures on the 
grassy banks of a river, the surface of which is partly covered with lily 
pads and blossoms. On the opposite shore is an expanse of green turf, 
and beyond, the silver streak of the river reappears winding through the 
meadows and disappearing amid the trees which frame in the middle 
distance and appear in silhouette against a warmly tinted evening sky. 
The group of nymphs forming the central point of interest is charming 
in arrangement, and the figures are finely drawn and ably painted. The 
picture is poetic in feeling and distinguished in aspect. 


Signed at the right. Height, 20 inches ; length, 30 inches. 
f np ov 50 om 
| A 7, ye) ea am 
| . Hy WYANT hy 
: fe a Cine Sagittal 
Gray Day 


Meadows with clumps of trees at the left form the foreground in this 
fine landscape—a characteristic and beautiful example. The sky is com- 
posed of broken masses of gray and white clouds. The picture is ad- 
mirable in its subdued scheme of color, atmospheric quality, and poetic 
sentiment. 


Signed at the left. Height, 16 inches; length, 22% inches. 


57 | 
WILLIAM T. SMEDLEY > pA lod 
5-7. A Thanksgiving Dinner + 
(Water Color) 


The dining-room is in an apartment high above the street level, and 
‘it through the wide window is a view of the city with its roofs and spires. 
ih At the table in the middle of the room a young couple are seated, and 
\ the mother has taken the baby from the maid who stands nearby, and 
holds his little hands together in readiness for the grace before meat. 
The figures, as well as the still life and picturesque accessories to the 
scene, are well drawn and frankly painted. The effect of light and air 
is admirably given. Awarded the William T. Evans Prize at the Ameri- 
can Water Color Society in 1890. 


Signed at the right. Dated, 1889, Height, 16 inches; length, 24 inches, 


pe HENRY O. WALKER /¥¥ 
Wr 
{M ‘ The Boy and the Muse 


The scene is laid in a classic wood where white lilies bloom at the 
edge of the path which leads down to a calm pool in the dell. At the 
right of the composition the Muse in draperies of pale gray color is 
seated in profile to the spectator, and before her, nude but fora yellow 
loin cloth, stands the boy holding an urn. His head is turned and his 
eyes look questioningly into the face of the Muse. A beautiful example 
of Mr. Walker’s ideal subject painting, bearing his best characteristics 
of style, drawing, and color. 


Signed at the left. Dated, 1894. Height, 22 inches ; length, 27 inches, 


vr 
iG? 59 
rt HENRY W. RANGER é f 
y> U New Jersey Oaks & . 


A group of great oaks in autumn foliage with one felled trunk and 
woodcutters standing near occupies the centre of the composition. The 
immediate foreground is in shadow, and the sky shows warm white 


‘ase: "representative example, with characteristic color and handling. 
‘Signed at theleft. Dated, 1896. Height, 28 inches; length, 36 inches, 


Lhd mt Conway Valley 


Meadows in the foreground ; an orchard, with a white church, in the 
middle distance. Farther away the great forms of the bases of the 
mountains appear, and, higher up, their peaks partly covered with snow. 
Over all a sky of blue with a few gray clouds. Very rich in general 
aspect, and remarkable for its quality of style. 


Signed at the right. Dated, 1875. Height, 20 inches ; length, 30 inches, 
Conese 
61 
: 
HORATIO WALKER C. 


Nir’ | Low Tide bs 
Fi vag 
(20: (Water Color) 


A white cow with spots of black stands in the marshes near a flat- 
bottomed boat that has been pulled up on a point of land covered with 
sedgy herbage. ‘The waters reflect the whitish gray of the sky and the 
color notes in the picture are admirably disposed. Extremely attractive 
in general effect. 


Signed at the left. Height, 1314 inches; length, 19 inches. 


62 


by feat ih ALBERT. P...RYD ER S f 


aod. the Little Maid of Acadie 


A draped female figure with a background of landscape colorful . 


and golden. She advances toward the spectator and forms with the 
setting of warm landscape effect a beautiful little vision depicted with 
all of Mr. Ryder’s poetic charm. 


Height, 10 inches: length, 514 inches, 


clouds with patches of deep blue in the upper portion. A very strong : 


a ‘ . 7 
7 a j*)- GEORGE INNESS ar | 


22: 


63 Ts ae "oh aid 
hat ; Aes : 
a WILLIAM M. CHASE y) j fi wr 
y™ ‘ 

lo) i 4 
J / O:- East River | 
The wide expanse of the river fills the foreground where a man is 
seen pulling a rowboat, and in the middle distance are the docks and 
shipping of the Brooklyn water front. Crisply painted and fresh and 


attractive in color, this is one of Mr, Chase’s delightful transcripts of 
picturesque effects in New York that have justly become so celebrated. 


| Signed at the right. Height, 10%4 inches ; length, 16 inches. 


: o 

| Ny a D. W. ‘TRYON gr, 

| / ¢ iM Pea slg do A May Morning 

" if | Meadows fill the foreground with a few clumps of willow trees in 
r ON H early spring foliage. In the distance are low hills and over all a sky of 


pale gray. The greens are delicate in color and the whole picture is 
a suffused with the tender atmosphere of a May morning. A charming 
example of Mr. Tryon’s landscape work in light tints. 


Signed at theleft. Dated, 1890. Height, 11 inches; length, 22% inches. 


65 


mre” HERBERT DENMAN oS aa 
nw 


es a Psyche [Mex : 


A youthful nude female figure with a pastoral landscape background. 
She is depicted in a graceful attitude on a woodland bank near a pool 
ie and her head is buried in her arms. Her slender wings form delicate 
notes of pale mauve color and the landscape effect is one of nightfall. 
Charmingly drawn and painted with simple, effective handling. 


Signed at the right. Height, 22 inches; length, 1814 inches. 


66 
GEORGE INNESS 


4 fo : ae 
Green pastures fill the foreground. In the middle distance are hills 


and groups of trees. The sky shows white clouds with patches of blue. 
A poetic interpretation of a summer day, and very forceful in color. 


Meadowland in June 


Signed at the right. Dated, 1880. Height, 18 inches; length, 26 inches. 


‘Praaadapessttaet 


67 


Bh BRUCE CRANE © 
4. saa “y | Nv! 
. ed vas 4, Evening after Rain 


A road leads from the foreground into the middle of the picture, 
with thickets seen beyond the fences on the right. The gray sky shows 
| . ‘ warm yellow light at the horizon, and the greens of the meadows are 
| lush and dark after the fall of rain. Very effective in its simple com- 
position and harmonious color. 


Signed at the right. Dated, 1888. Height, 20 inches ; length, 30 inches. 


68 


| Ga ie aed 
i Gass 


“CHARLES MELVILLE DEWEY yw” ~ 
aca” ; 


A shepherd with his flock on a wide plain under a sky of light gray ~ 
are the simple features which make up the composition in this charming 
landscape. Itis painted in a light key, and is tender and truthful in color. 


An Autumn Pastoral 


Signed at the right. Height, 16 inches; length, 24 inches, 


69 ~ 
H. BOLTON JONES Z b we 


November 


A scene in New Jersey pastures, with a grass-grown, deserted road, 
lined by tumble-down stone fences, leading into the picture from the fore- 
ground. Somecows graze in the road, and leafless trees with underbrush 
and thickets appear in graceful silhouette against the cloudy sky with a 
rift of blue, or frame in the brownish-green stretches of meadow. In 
the distance, through the branches, is seen a line of blue hills. This isin 
every way a superior example, and is marked by the best qualities of color 
and drawing that have made Mr. Jones’s landscape work so celebrated. 


Signed at the right. Height, 22 inches ; length, 32 inches. 


70 


Gang oo WILL H. LOW ne thwart 
| Ay | 


. : al hed 


The , Portrait 


A maiden clad in Greek drapery of pink kneels on a marble bench, 


the portrait art. A sundial on a fluted marble pedestal stands in the fore- 
ground, and overhead is a trellis from which hang the green leaves of a 
vine. The color is delicate and refined, and the drawing graceful and 
accurate, 


Signed at the right. Dated, 1890. Height, 25 inches; length, 14% inches. 


K © 6 26 ‘* HOMER D. MARTIN PVE 


i - 
Mit & i, / { 
| CS dae: & ¥ oo Lake George 


a q 

On the right a group of trees with autumn foliage; on the left a 
} smaller group. The foreground is composed of rocks and herbage on 
i i f » #® the shores of the lake. The water, calm under a clouded sky of great 
é 4 delicacy of color, fills the middle distance. A picture containing much 
of Homer Martin’s finest quality. Delightful in color. 


Signed at the right. Height, 13 inches; length, 20 inches. 7 


72 


di Mago F. S. CHURCH 
ay Aa = Evening 


A head of a young girl in profile, with a background of blossoms and 
acrescentmoon. The golden head is bound with a fillet of pink ribbon, 
and the face looks downward with a restful expression symbolical of the 
quiet of the evening. 


Signed at the left. Dated, 1889. Height, 14 inches; length, 12 inches, 


” 3 iy j ( 4 
Are t om 
SAMUEL COLMAN  § st 


' R. y . 
Moonlight Near Rome 
The walls and towers of a great building are indistinctly seen on the 
left of the composition, and a sheet of water in the foreground reflects 
the light of the moon, which appears in the middle of the sky, partly 
veiled by clouds. Strong in color and rich in general effect. 


Signed at theright. Height, 914 inches; length, 13% inches. 


i Le" WYATT EATON nar 


4 AIO Ariadne 


A recumbent nude female figure with a setting of forest landscape. 
This is one of those truly remarkable nudes which did so much to estab- 
lish the high reputation of Wyatt Eaton. The figure is ably drawn, and 
the whole composition is distinguished in color. The picture is full of 
poetic feeling, and possesses that rare quality of style which so few mod- 
ern painters have been equal to achieving in the depiction of classical 
and idyllic subjects. 


Signed at the left. Dated, 1888. Height, 14 inches ; length, 20 inches. 


0/7 oo 
a wr A. H. WYANT A at 


An October Evening . 


Groups of trees on either side in the foreground, a pond in the mid- 


pies dle distance, and rising ground beyond, with a fine sky of gray clouds 
lighted up with warm, luminous tints at the horizon, are the principal 
features of this composition, Rich and harmonious in color and charm- 
| / ing in general effect. 
| 


Signed at the right. Height, 13 inches; length, 20 inches. 


Pees), 76 we | 
... : oo CHARLES C. CURRAN (ee 
he A oe | je eam (a 24" wD 


we 

. The composition shows innumerable great transparent globes ane 
ing in space, resembling soap bubbles in their iridescence, with pink, 
green, and violet hues, and each one bearsa figure. A large globe in 
the foreground carries a young girl, from whose hands floats a long piece 
of gauzy drapery. A pure creation of fancy, this picture possesses fine 
decorative quality, and is marked by Mr. Curran’s skilful touch in draw- 
ing and in handling of color. 


Signed at the right. Dated, 1892, Height, 18 inches ; length, a2 inches. 


77 
ih Sed: ” F. S. CHURCH 


|e f Ae The Dance | Vitle 


(Water Color) 


| A friendly white bear, clumsily stepping to the music of a violin 
h 3 , 4 played by a young girl in pink, who is seated on a bank in the woods, 


\ *}. Fa is acting as dancing master to a cupid who trips through the measure 
| i> wd with gladsome grace. Two white doves sit in the grass in the foreground 
‘ and watch the merry scene. 


Signed at the right. Dated, 1899. Height, 16 inches ; length, 24 inches. 


ae | | 78 
Gude nancts C. JONES 


ine WA gd: dd The Little Visitor 


The little visitor is a pretty child in a white frock, who is seen sitting 
at the lunch-table in a big armchair. The hostess, who may be an 
aunt, perhaps, is a young woman seated near the child and tempting her 
with good things. Back of the figures a sideboard with a silver urn and 
blue china. Against the wallon the right a divan with cushions. The 
story is well told, and the picture is delicate in color and very cleverly 
painted. 


Signed at the left. Height, 20 inches ; length, 27 inches. 


79 
WALTER SHIRLAW 


maatid oF Roses 


Pink and white roses in a glass vase of dark green. Rich and 
éclatant in color. 


Signed at the upper left. Height, 24 inches ; length, 19 inches. 


80 


2 /d-“ Christ in the Wilderness 


ee ELLIOTT DAINGERFIELD . ea ve / rb) 


The pensive figure of the Saviour, clad in a robe of drab color, is - 


placed on the left in the composition, and is seen walking slowly, with 
bended head and clasped hands, followed by a lion and lioness, emerging 
from their cave among the great rocks on the right. Two or three trees 
are in silhouette against the sky, their foliage forming effective masses 
in the scheme of sombre color in which the work is executed. A work 
of singular force and remarkable tonal quality. 


Signed at the right. Height, 28 inches; length, 24 inches, 


gaBNOO Laas 


a ae ht 


fe CARLETON WIGGINS 
(oA aaa _ Evening, After a Rain 


A quiet evening effect, with the last rays of the sun gilding a distant 
hilltop. In the valley, groups of trees and meadows. A flock of sheep 
grazing in the pastures of the foreground. The eastern sky shows the 
moon partially veiled as it rises through the clouds toward the open 
spaces in the upper portion. Poetic in sentiment, and subdued but 
powerful in color. 


Signed at the left. Height, 30 inches; length, 40 inches. 


: : oer _ 7 | 82 . 
: er LEONARD OCHTMAN Hl die 


‘van Evening on the Mianus 


A pastoral subject, interpreted with naturalistic force and great truth 
of observation. On a bank in the foreground, at the right, is a seated 
fig’ re, and three or four tall trees are silhouetted against the moonlit — 
yxy. In the distance a river takes its course through a valley. Quiet in 
* color scheme and poetic in general aspect, this is a notable example of 
the work of a celebrated landscape painter. Medal, World’s Fair, 
Chicago, 1893. 


Signed at the left. Dated, 1893. Height, 36 inches ; length, 52 inches. 


83 
has GEORGE H. BOGERT 


LY nae Sea and Rain \ , 


The breakers fill the foreground, flooding the beach with white foam, 

and, beyond, the broad expanse of the ocean stretches away to the 

% horizon, where a few rays of light struggle through the dark clouds, and 
8 a distant sail is seen in dreary loneliness. The sky is filled with storm 
#) « clouds, with a mass of lighter gray in the central portion, where the 
99 td light, breaking through, forms a faint rainbow to the right. An ad- 
X a } mirable piece of tone, and a composition of great dramatic force, this 

Ke is one of Mr. Bogert’s most justly celebrated pictures. 


Signed at the left. Dated, 1893. Height, 30 inches; length, 45 inches. 


3 24. ? GILBERT GAUL 
Charging the Battery 


A stirring composition, with moonlight effect and snow on the 
‘ground. A company of blue-coated soldiers is hurrying up the hill on 
the right to where, near the centre of the picture, the lurid atmosphere 
shows the thick of the fight, and the dead and wounded are strewn on . 
the other side of the slope. The moonlight glints on the bayonets and 
accoutrements in the advancing mass of troops. Full of action, dra- 
matic in effect, and very strong in color. Awarded'a medal at the Paris 


Exposition of 1889. we t 
* 
Signed at the upper right. Height, 36 inches aylength, 44 inches. 
7" 
85 
\ 
a 
ROBERT C. MINOR ney 


a 
@ IIE The Close of Day 


A pastoral of simple beauty of line, mass, and color. A placid stream 
flows through the meadows, and groups of full-foliaged trees border it on 
either side and form effective silhouettes, while an evening sky clouded, 
but very luminous, is reflected on the water. This picture is unified and 
harmonious, and notable for its golden mellow tone and atmospheric 
quality. Awarded a medal at the Paris Exposition of 1889. 


x 


Signed at the right. Height, 30 inches; length, so inches. 


| 86 
| ¢, ytte a der? | i 
Je HENRY W. RANGER A) p! 


, 
\ Pa Lh go Morning at High Bridge 


The view-point is from high ground north of the bridge. The river 
ies in the valley below, spanned by the bridge in ise middle distance. 
At the extreme right rises the tower, ang inthe 


walls, roofs, and spires of the great city. The effect shows part of the 
bridge illumined by the morning sunshine, which also covers the city 
beyond, and a broad shadow is cast over the foreground. ‘The sky is © 
flushed with amber-tinted clouds. The color quality of this picture ig, 
notably fine, and the composition is remarkably complete and beautiful. 


a Signed at the left. Dated, 1897. Height, 23 inches ; length, 36 inches. 


2307 ‘ ao: 
go ae Ww) 
Le 1 pigeon” inness @.! 


AN’ unset on the Passaic 


». 4 } The spectator looks down upon the river in the foreground, where 
iA several sailboats are seen at anchor, and on the left the road leading 
; own to the water is shaded by trees. On the opposite bank a hill 
rises up crowned with groups of trees. Over all, a sunset sky filled with 
. golden light, which pervades every part of the picture and wraps the land- 
scape in its effulgent glory. This splendid work wascalled by the French 
of painter, M. Benjamin-Constant, ‘‘an apotheosis of the sun.” It is a 
magnificent piece of beautiful, glowing color. 


Signed on the right. Dated, 1891. Height, 30 inches ; length, 45 inches. 


@ q 
es ; q 
ae F. S. CHURCH Law / 
% Vt A : 
/ age * Una and the Lion 
NI The tall, lithe figure of Una is clothed in white. She advances 


through the wood accompanied by the splendid lion, who walks by her 
o 0) “side obedient to the touch of her hand on his shaggy neck, and turns his 
a * head toward her with submissive, but in no wise humble, expression. 
Una lightly holds in the fingers of her right hand a white rose in the 
guise of a sceptre. Her face is frank and noble in expression, and the 
lion looks, indeed, the King of Beasts. 


Signed at the right. Dated, 1895. Height, 48 inches ; length, 27 inches. 


\ 89 ; ey uk ; ef | 
© gATHOMER D. MARTIN a NAME RS 
aa Westchester Hills ay tf : 


A magnificent landscape, showing a winding road in the foreground, 
lined with stone fences, leading to the hills which rise up in the, middle 
distance. Splendidly anatomical in modelling, and ver ph ut if | aba 
color. One of the finest of all the Homer Martins. # f nix fenee 


Signed at the right. Height, 32 inches; length, 60 inches. 


| a 4 | ; A 
lon : j SBBOTT H. THAYER © caer 
ro) G oi : Ny ee Pall 


Young Woman a 
A three-quarters length figure of a young woman with white drapery,. 
painted in life size. The pose is natural and expressive of dignity. The: 
face is beautiful in character, and the entire work breathes a lofty senti-- 
ment. Very distinguished in color, and admirable in general: aspect, 
this picture ranks with the finest works of the painter of ‘‘ Madonna,” 
‘* Caritas,” and other beautiful ideal creations. 


Signed at the right. Height, 40 inches ; length, 32 inches.. 


; 


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Bs Nr sLe cai RAOT EA HALN ESS TRAN OE Yh Men ie 
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i 


PeGCOND /EVENING'S SALE 


THURSDAY, FEBRUARY I, I900 
AT CHICKERING HALL 


BEGINNING AT 8 O’CLOCK ( 


| 
| 
f 
| 


SE EN EID 


ES 


* SECOND EVENING’S SALE 


THURSDAY, FEBRUARY I, 1900 


CRS ERE NE TT OP TE 


AT CHICKERING HALL 


BEGINNING AT 8 O'CLOCK 


OI 


ag. S J. H. DOLPH 4 


The Right of Possession 


A cat sits in a cushioned armchair disputing the right of a seat with 
a Yorkshire terrier, who looks up appealingly from his place on the 
| floor. In the background a chest of drawers. A good, characteristic 
| example. 


Signed at the left. Height, 12 inches ; length, 14 inches. 


92 
Fe 
os oO: H. BOLTON JONES 


The Road to the River 


An old road overgrown with herbage leads over the stony pastures to 
the river, which lies in the middle distance, reflecting the hills on its 
farther bank. On the left a line of trees and bushes. A sky of pale 
gray with much depth of atmosphere. Frankly painted and agreeable 
in color effects. 


_ Signed at the right. Height, 16 inches; length, 24 inches. 


: 93 
wD ' 
/ va ak WILLIAM H. HOWE 
Morning, Korten Hof Meadows 
(Water Color) 


A group of cattle in the foreground. In the distance, beyond a 
canal, a windmill. Sky of gray, and fine atmospheric effect pervading 
the picture. A characteristic Dutch motive, very ably rendered. 


Signed at the right. Height, 14% inches; length, 20% inches. 


94 
Poe 
Vi ARTHUR PARTON 


In the Month of May 


An apple orchard in blossom. A pool in the left foreground reflects 
the spring sky of blue and white. The tree trunks and branches are 
crooked and bent, and the delicate pink and white of the blossoms con- 
trast effectively with their gray bark and the sparse, green foliage. 
Awarded an Honorable Mention at the Paris Exposition of 1889. 


Signed at the left. Height, 26 inches ; length, 36 inches. 


ede 95 


CHARLES C. CURRa 


Music of the Waves in Fingal’s Cave 


_ | The night effect on the sea is framed in by the cliffs and overhanging 
mal rocks of the entrance to the cave. Three nude female figures are indis- 
| | tinctly seen amid the shadows, and the moon lights up the wide expanse 


of the ocean in the distance. 


Signed at the left. Dated, 1897. Height, 32 inches; length, 18 inches. 


96 
CHARLES A. PLATT 
ie. A Spring Flood — 
(Water Color) 


The river in the middle distance has overflowed the meadows, and 
clumps of willow trees are seen in the water. There are some boats in 
the river near the opposite shore, where there is seen a village on a hill. 
The color scheme consists of pale, tender grays and greens, and the 
effect of the picture as a whole is extremely beautiful. One of Mr. 
Platt’s most notable successes in water-color painting. 


Signed at the left. Height, 16 inches ; length, 2314 inches, 
OT 
/ 7 g.2 HORATIO WALKER Ha 
P ht 


Cattle and Landscape 


Two cows are lying down together in the meadow. One is black 
with white spots, the other dull red. <A fine group of trees appears in 
the middle distance. The sky shows masses of gray clouds illuminated 
near the centre by bright white light on the edges, F orcefully com- 
posed, and very lovely in general effect. 


Signed at the left, Height, 18 inches; length, r5 inches, 
= as. ROBERT C. MINOR AY 
; Twilight : 


A beautiful composition on classical lines, with trees on the left 
reaching up above the top of the canvas, the silhouette of roofs and 
towers beyond, and a lake at the left. The landscape is wrapped in 
darkness, for the daylight is all but gone, and the last light of the sun 
appears at the horizon, tinting the sky with pale yellow and rose. 
Above, it is darker and blue, and the crescent moon peeps through the 
boughs of the trees. ’ 


Signed at the right. Height, x2 inches; length, 16 inches, 


99 
a ABBOTT H. THAYER 
%? 
Lf: oi g: Roses 


A simple bunch of pink roses in a vase. The flowers are beautifully 
drawn and painted with great delicacy and truth of color. The back- 
ground of gray and the green leaves lend their aid in making of this 
picture a delightful work of art. 


Signed at the right, Height, 12 inches; length, 20 inches. 


I0O 
eo we A; a 
; war WYATT EATON 
x i . | s rh Me v ‘ & 
if. (7{ “La Cigale, O got: 


Lh t ; 

A partly nude female figure (the ee draped in a pale-blue 
covering) is seated leaning against the trunk of a great tree. The lute 
is held across the knees with delightful grace of action. The exquisite 
delicacy of color in the torso, head, and arms; the fine modelling, the 
robust strength of the general tone, and the masterly simplicity of the 
composition make this creation a work of superlative excellence. 


nt Signed at the left. Dated, 1888. Height, 15 inches; length, 12 inches. 


ii sa na “) rat 3 
| | | *) ) er ¥ Fark le] : *, 
| WALTER SHIRLAW 


i f . » 3 

! i x » we a 

Vh Tae Among the Old Poets 
iy 
Pu 


| | A young woman, with a rich, embroidered cloak covering her shoul- 
| ders, bends over a large volume in ancient binding which she holds on 
her knees while she reads from the old poets. Charming in type and 
depicted with fine color harmony. Engraved for ‘‘ Harper’s Portfolio.” 


Signed at the upper right. Height, 16% inches; length, 21 inches. 


I02 ; 
a 7¢@- GEORGE INNESS fy \y 
Summer in the Catskills iM 


A wooded valley with grassy slopes in the foreground, where cows 
are grazing ; beyond rises a mountain peak. In the distance a line of 
blue mountains. The partly clouded sky includes tints of warm white, 
gray, and blue. An Inness of his earlier period, thoroughly characteris- 
tic, and fine in general aspect. 


Signed at the left, Dated, 1867, Height, 20 inches; length, 30 inches. 
a 
| 103 | 
Ly pp. LOUIS PAUL DESSAR 4 }%, 
e Ye ge g 
aeiaer © 
sie 


Evening in Picardy 


A sheep park in the foreground with the shepherd folding his flock. 

On the left, two haystacks, and on the right, in the distance, a stretch 

of landscape with a hill and clump of trees. The sky, partly clouded, 

obscures the moon, whose light fills the picture together with the linger- 

- ing light of day. The general effect shows a diffused atmospheric feel- 
ing, and the color aspect of the picture is exceedingly luminous. 


Signed at the right. Height, 24 inches; length, 29 inches. 
104 / oem i 
7 ~ gt at " i 
HOMER D. MARTIN @ %/™ 
a 
Gi? 
A Mountain Brook 


The mountain brook comes rippling over its stony bed from the re- 
cesses of the forest, the bare branches of a dead tree overhanging it on 
the left. A bit of gray sky shows among the trees in the distance. A 
fine color scheme of sober browns, greens, and grays. 


Signed at the right. Dated, 1894. Height, 13 inches; length, 20 inches. 


ype Cia ‘ 73a 
o/ AD en ae PO ‘ I05 
eet oS AL WILLIAM A. COFFIN 
suey D A Rainy Day 


A meadow with clumps of trees occupies the foreground, beyond 
which rises a gently sloping hillside with a road. Over all, a gray sky 
| \ soaked with rain. The landscape is seen to be enveloped in moisture, 
1 and the color scheme includes delicate tints of green and brownish 
i yellow. Though different in composition, this picture resembles in effect 
Mr. Coffin’s picture ‘‘ The Rain,” awarded the Webb Prize at the 
Society of American Artists in 1891, and now in the permanent collection 
of the Metropolitan Museum of Art, New York. 


Signed at the right. Height, 14 inches; length, 20 inches. 


A307 106 
ARTHUR HOEBER ‘ 
The Road to the Sea 


i A white, sandy road leads from the foreground into the middle of 
3 ; the picture, winding over the dunes, and losing itself in the forest 
‘ which crowns the hills in the distance. The sky is filled with gray 
clouds, which are drawn with careful attention to form, and the color is 
sympathetic and veracious. Shown at the Retrospective Exhibition of 

\ i the Society of American Artists. 


Pe) 


i | Signed at the left. Height, 13% inches; length, 21% inches. 


ar) 
St a 5: 107 
‘as A. H. WYANT 
Autumn in the North Woods 


An opening in the forest, the composition showing tall trees on either 
side and a vista of woods and mountains between them. The sky is filled 
with white clouds except at the top of the canvas, where patches of blue 
i appear.. A pool of water in the’foreground. A strong and effective 


| example. | ~ dow 
Mp ' Height, 18% inches; length, 2434 inches. 


Signed at the left. 


108 


ov 
ee MARIA A’BECKET 


Moonrise on the Swannanoa 


A scene near Biltmore, N.C. In the foreground a great tree spreads 
its branches from the bank on the left, and obscures the face of the 
moon, whose light falls on the water of the river. Strong in color and 
attractive in general aspect. 


- Signed at the right. ven Height, 22 inches; length, 30 inches, 


, 37 09 
FREDERICK A. pee fA 
"F 


My Pets it val at ; 


A pretty little girl of seven or eight years, sitting in a “i chair, hugs 
her cat in her arms, and seems very happy in her possession. Crowded 
in beside the arm of the chair is her rag dolly. The picture is painted 
with great skill, and is in every way pleasing. 


Signed at theleft. Dated, 1881. Height, 23 inches ; length, 18 inches. 


oe IIO , 
poo, 


R. A. BLAKELOCK el id 
Evening on the Sound 


| The water, lighted up by the moon, is seen in the middle distance 
behind some trees, which stand up in the foreground, and at the right 
there is a headland with a lighthouse. The sky, partly overclouded, 
iY shows a large opening into the blue in the middle of the composition, 
where the moon is hidden from the spectator by the foliage of the trees. 
| Fine atmospheric effect and classic-looking composition. 

| 

| 


Signed. Height, 22 inches; lencth, 30 inches. 


III pee 
BEN FOSTER eo 


“Amid the Cool and Silence” 


a/7 7 


A sous-bois with a carpet of red pine needles. On the right are the 
trunks of two great trees, light gray in color and with shaggy bark, 
while in the recesses of the grove are deep masses of green foliage, with 
the light of the sky appearing amid their dark branches. A fine inter- 
pretation of an attractive spot. Full of nature and excellent in color. 


Signed at the left, Height, 36 inches ; length, 30 inches. 


i Sete on NY BFE St 112 
ie eo UY ni GEORGE H. BOGERT 
nt ; . Afternoon—Haarlem, Holland 


il f A view of the canal, with the bank in the immediate foreground on 

: i the left, and the surface of the water reflecting the walls and roofs of 

! ; the quaint old buildings on either side. A gleam of sunlight illumines 
i the towers and windmills in the middle distance. The sky, blue, with 

large masses of white and gray clouds, is finely composed and forceful 

in color. A fine example, characterized by vigorous handling and rich 

color quality. 

Signed at the left, Height, 28 inches ; length, 36 inches. 


i : ie fe oO 0: 113 
i . # 

mf fw ys 5 SeGua 

(Lee “Took, Mamma!” 


| i A young mother, of brunette type, holding her little golden-haired 

4 girl on the coping of a stone wallin a garden, witha glimpse of the sea on 

the left. The figures are painted in life size. The principal color notes 

Ke are formed by the dark-blue skirt and white sleeves of the mother’s cos- 

tume and the child’s dress of dull pink. One of Mr. Guy’s best known 
and most important works. 


Signed at the left. Height, 33 inches; length, 29 inches, 


aie : 


II ay 
GEORGE INNESS J rad 


we 


Returning from Pasture, Milton. Ng 


Level meadow lands, diversified by brook and pool, SK with some 
cows coming slowly forward in single file, occupy the foreground. On 


the right a massive group of trees. On the left a distant prospect of 


plain and hills. The sky is covered with gray clouds. This is a fine 
example of Inness at his best in a sober, subdued scheme of color, con- 
sisting of low-toned, luxuriant greens. The general aspect of the picture 
is supremely restful and idyllic. 


Signed at the right. Dated, 1880. Height, 22 inches ; length, 34 inches. 


A we eae a iy a 


CHARLES F. ULRICH a? 
In the Land of Promise 


In old Castle Garden’s waiting-room are many immigrants whiling 
away the hours of their probation before entering on the life in the land 
of liberty. In the foreground a young German woman suckles her babe, 
and a little girl is seated near her on an antiquated trunk. Nearby, a 
man wearing a flat-topped cap banded with red sits on one of the benches 
and pulls contentedly at his pipe with white China bowl, and other men 
and women sit about the room. The types of character are well studied, 
and the scene is most truthfully depicted. The color scheme abounds in 
notes of quiet tints, and the numerous figures, without exception, are 
excellently drawn. Clarke Prize, National Academy, 1884; Medal, 
Paris Exposition, 1889; Medal, World’s Fair, Chicago, 1893. 


Signed at the left. Dated, 1884. Height, 29 inches; length, 36 inches. 


bares oP oe 116 


jY Fl 
W. ST. JOHN HARPER Was | 


Autumn 


At the edge of the woods in a thicket of shrub oaks stands a graceful 
figure of a young woman draped in gray and tender brown. The autumn 


pet 


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% 


leaves are flying in the evening breeze, and in the distance the amber 
glow of sunset illumines the sky. The figure is a delightful ideal crea- 
tion, and the landscape setting is in harmony of line and color. 
Awarded the Clarke Prize at the National Academy in 1892. 


Signed at the left. Dated, 1891. Height, 30 inches ; length, 44 inches. 
Kin J. nf 
o 117 
24 
CP FREDERICK W. KOST 


Moonrise, Brookhaven, L. I. 


A country road in the foreground crosses a brook by a ford, while at 
the left is a foot-bridge. A wagon, with the horse drinking, stands in 
' the water, and on either side are trees. Beyond, in the distance, the full 

moon rises from behind the hills. The sky is very luminous and atmos- 

pheric with its clouds of gray, and the moonlight is diffused’ throughout 
| the picture with poetic effect. A rare piece of cool, sober color with fine 
\ general aspect. 


Signed at the right, Height, 32 inches ; length, 40 inches. 


sth Dae cr cons 118 


! » FF. KM RES 
! Ye iw ~é nlite Where Waves and Moonlight Meet” 


| In this excellent marine the moon rides high in the sky, and sheds 

\I its light on the waves which spread out as they touch the beach in the 

i foreground. The effect is exceedingly luminous, the color tender, and 
i the execution virile. A fine rendering of a beautiful phase of nature. 


% 
i | Signed at the left. Height, 30 inches ; length, 40 inches. 


a a 119 
re FE. S GHURGE 
“ wer Air 


One of three designs for stained glass. Air is symbolized by a female 
. figure with violet drapery, her long hair floating in the wind, and accom- 
| panied by doves, one of which lights on her upraised left hand. 


Signed at the upper left. Dated, 1895. Height, 26 inches; length, 311% inches. 


I20 


bs 
F. S. CHURCH 0 a 
Earth 


i 


One of three designs for stained glass. Earth is symbolized bya 
female figure clad in light green, who holds a fawn by a ribbon around 
its neck, while she caresses it on the back with her other hand. 


Signed at the upper left. Dated, 1895. Height, 26 inches; length, 31% inches. 


I2I | 
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old O- F. S. CHURCH ; = 
Water 


One of three designs for stained glass. Water is symbolized by a 
female figure floating in the depths of the ocean, the fingers of her left 
hand intertwined in her hair. 


Signed at the upper left. Dated, 1895. Height, 26 inches ; length, 31% inches. 


I22 


cad 


st OW HOMER 


Sunday Morning in Virginia \ ’ 


A group of four negro children, seated on a bench and stools in the 
chimney corner, are spelling out the words in a bible which they hold on 
their knees. Beside them sits an old plantation ‘‘mammy” leaning on 
her staff and listening to the halting, but grateful, words. This is one 
of Mr. Homer’s finest character studies, and is a strong piece of rich, 
sober color. The reds, blues, and browns are full of depth, and all are 
admirably harmonized in a powerful ensemble. Exhibited at the Paris 
Exposition of 1878. 


Signed at the upper left. Dated, 1877. Height, 18 inches; length, 24 inches. 


ae 4 
oo ee a. 123 
J. FRANCIS MURPHY 


Under Gray Skies 
(Water Color) 


A plain with a pool in the foreground. On the left, in the middle 
distance, the edge of a forest. The sky shows cloud-forms of white and 
gray. The landscape is enveloped in atmosphere, and the color is true 
and tenderly modulated. Awarded the William T. Evans Prize at the 
American Water-Color Society, 1894. 


Signed at the left. Dated, 1893, Height, 14 inches; length, 19 inches. 


\ oF 124 
W. L. LATHROP 


Twilight in Connecticut 
(Water Color) 


In the valley in the foreground, on the left of the composition, stands 
a gray barn, and past it, down hill, winds a road which climbs the wide 
slope of the hill on the other side of the valley. Over the crest of the 
hill appears the rising moon. The subject is a simple one, and it is de- 
picted with rare poetic feeling, breadth of handling, and exquisite truth 
and beauty of color. Awarded the William T. Evans Prize at the 
Wi American Water-Color Society, 1896. 


Signed at the left. Height, 14 inches ; length, 15% inches. 


MARIA BROOKS 


“6 a ad a2 12 
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A little girl stands in profile view, her face peeping out from a hood 
trimmed with white fur. She wears a cloak of brown and white woolly 
cloth, and holds a large muff of white fur. A charming interpretation 
of childhood. 


Signed at the upper left. Height, 14 inches; length, 9 inches. 


126 


CHARLES C. CURRAN 
woe Night 
| (Water Color) 


A nude female figure, with black wings and long, gauzy draperies, 
floats gently downward through the ethereal space. The dark-blue sky, 
with a few silver stars, forms the background. A charming fancy real- 
‘ized with skilful treatment in drawing and attractive color. 


Signed at the right. Dated, 18or. Height, 15 inches; length, 6,inches. 


. Pi 127 
tt: >“ 


HOMER D. MARTIN soe ad 
Trouville at Night | 


A precipitous hill with lights gleaming from its rocky sides appears 
at the left, with its forms and sparkling points of illumination reflected in 
the sea. At the headland stands the lighthouse. The hour is twilight, 
and the picture is painted in delicate tints of blue and gray. 


Signed at the right. Height, 7 inches; length, 184 inches. 


ey aie 128 
if ‘ 


A. C. HOWLAND wr 
Rue sous le Cap, Quebec 


A view in a narrow street lined with picturesque old houses. Most 
of the buildings are in shadow, but the sunlight falls on some of those 
on the right, and in the distance is a summer sky of blue and white. 


Signed at the left. Height, 12 inches ; length, ro inches, 


129 
ROBERT C. MINOR 
Nightfall 


Groups of trees on right and left, a lake in the middle distance, and 
hills beyond. ‘The dusky sky shows near the horizon the last of the light 
of day. Characteristic example, with fine quality of color. 


Signed at the right. Height, r2 inches ; length, 16% inches. 


130 
sy H. SIDDONS MOWBRAY 
A Idle Hours 


Two beautiful girls with dark hair, wearing rich Oriental costumes 
of pale red and figured stuffs, are idling in an apartment furnished with 
a long divan with cushions placed in a row against the wall. A stand 
placed on the mosaic floor in the foreground bears a large brass tray, on 
which is a bowl with some pink roses. The figures are béautifully drawn, 
and the color scheme, abounding in charming notes, is harmonious and 
unified. One of the best of the artist’s works in his famous series of 
Oriental subjects. 


Signed at the left. Height, r2 inches ; length, 16 inches. 


vy, Sine 131 


) Nees 9 aller | J. FRANCIS MURPHY 
iM f v ’ Avnw“ An Autumn Sunset 
i a CN 
VE 
ait \ Trees on the left and a stream in the middle distance are here de- 


“i picted under a sunset sky, with clouds and golden light at the horizon. 
Frankly painted and convincing in general effect, this small work con- 
tains much of Mr. Murphy’s best quality of color, 


Signed at the right. Height, 9 inches; length, 1234 inches. 


132 


£ ; }. 
% 


SO.” | 
SAMUEL COLMAN 
Sunset at Amsterdam, Holland 
A fine little piece of color, with the rich tints of the walls and tiled 


roofs of the town, the dark sails of boats, and the blue, white, and gray 
of the sky reflected in the water of the port. ; 


Signed at the left, Height, 5% inches ; length, 6 inches. 
, a iter 133 
a7 7. GEORGE INNESS 
Leeds, New York ; 


Effect of autumn weather. Through the hazy atmosphere, across a 
wide valley, a range of hills appears dimly, while in the foreground a tree 
with brown foliage forms a note of dark, and gives value to the perspec- 
tive beyond. 


Signed at the left. Height, 9% inches; length, 13% inches. 


134 
pe +? 
DIT w. GEDNEY BUNCE 


Venice 


Boats with yellow and tawny red sails on the right ; the city of Venice 
in the distance on the left. The calm water reflects the sails and towers, ~ 
and the sky, which is warm gray in tone with delicate indications of 
blue. 


Signed at the right. Height, 1354 inches; length, 17 inches. 


eee 135 


ROBERT L. NEWMAN 
The Bird 


Two girls are sitting by the roadside in the open country, and the 
younger points to the spectator’s right, where the bird is soaring in the 
heavens. The color scheme is subdued and forceful. 

Signed at the left. Dated, 1808. Height, 18 inches; length, 22 inches. 


136 
wl WILLIAM T. SMEDLEY 
yl y 
v One Day in June ‘ 


An interior with figure of a young woman standing near an open 
window, while a country gallant in his shirt sleeves outside leans forward 
on the window sill and addresses his compliments to his attractive neigh- 
bor. A meadow and trees, brilliant in the June sunshine, are seen 
through the window, contrasting agreeably with the darker tone of the 
room and the figure of the girl. A pleasing piece of genre painted with 
skilful touch and evident truth to local conditions. Engraved by Wel- 
lington for ‘‘ Harper’s Portfolio,” 

Signed at the left. Height, 24 inches; length, 16 inches. 


137 
KENYON COX 
we 


a 


A nude female figure reclining on a grassy ge with a piece of yellow 
drapery under her. Trees covered with spring blossoms fill the left of 
the composition. Beyond, at the right, a stretch of landscape. The 
young girl is painted with rare knowledge of form, and the figure is deli- 
cious in color. Medal, World’s Fair, Chicago, 1893. 


5 

; 

j 
ot 
sf 


Signed at the left. Dated, 1890. Height, 15 inches; length, 30 inches. 


. : a Avie “ey 
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Relve fy oy ne < f) 

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D Noite 
— 138 ae 
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Pa [Ee % 

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K al 
i 


CHARLES MELVILLE DEWEY 
Shadows of the Evening Hour 


Rarely delicate in treatment and poetic in feeling. The foreground 
of waste pasture land rises to a slight eminence in the middle distance, 
where slender trees denuded of leaves, and a house, with wood smoke 

_ rising from the chimney, are in vague silhouette against the evening sky 
of greenish blue with rose tints at the horizon and gray clouds above. 
The landscape is wrapped in a misty haze, the sign of fast-falling night, 
and the picture shows in all its parts the impress of the artist’s poetic 


temperament. 

Signed at the left, Height, 18 inches; length, 24 inches. ) by f 
Lye 7 SEORGE DE FOREST BRUSH oe aay : 
| Before the Battle ss V 


One of Mr. Brush’s finest Indian pictures, and a work possessing his 
best qualities of drawing and dramatic composition. An old chief, 
whose weight of years prevents him from going on the warpath, is seen 
on the right addressing five young braves, who, in full war-paint and 
feathers, are drawn up in a line before him. In the distance, on a head- 
land, rises the smoke from the bonfire which announces the coming bat- 
tle. Tents and other warriors are seen in the middle distance beyond 
the group of principal personages. The evening sky shows a streak of 
light at the horizon. 

Signed at the left. Dated, 1881. Height, 15 inches; length, 29 inches. 


140 re - a 
sete he : 
cl & WILLIAM MORRIS HUNT WY , 


Spouting Whale . 


te" 
A marine showing the open sea and a high sky with a great bank of 
white and gray clouds. A sail is seen on the horizon, and in the fore- A 


ground a jet of water with falling spray indicates the presence of a whale 
blowing on the surface. This composition is impréssive in its simplicity, 
and is majestic in general aspect. It possesses rare beauty of color. 


Signed at the left. Height, 20 inches ; length, 16 inches. 


Ee, re a 


I4I 


fo ~~ A. PHIMISTER PROCTOR 


A Puma 


(Water Color) 


A puma is here depicted going down a slope in the foreground with 
stealthy step. Far down in the valley is a stream. The animal is finely q 
drawn and excellent in action, while the landscape setting is very appro- 
priate, with its noble lines and simple treatment. 


Signed at the left. Height, r5 inches; length, 18% inches. 


142 


Bd “4 | a 


ROBERT L. NEWMAN 


The Letter 


Head-and-bust picture of a young woman in profile, reading a letter 
which she holds up in her hand. The bodice of dark blue, and the 
soberly colored cheek and neck, form effective notes in the quiet color 
scheme. Painted with breadth, and simply modelled. 


Height, 14 inches; length, rz inches. 


at 143 
. ALBERT P. RYDER c 
ag Charity 


A young woman coming through a wood carries one child on her arm, 
rl while she leads another by the hand. The principal color notes are 
| pink, and the brown and yellow tints of the autumn foliage. 


aN Height, 12 inches ; length, 6 inches. 


a 
; 


37- « 
: H. W. RANGER 


Afterglow 


A river in the foreground ; a cottage and clump of trees in the left 
centre ; a figure and boaton the right. A sunset sky of great brilliancy, 
with large masses of clouds, fills the upper half of the composition, and 
floods the landscape with its rich glow. 


Signed at the left. Dated, 1896. Height, 12 inches; length, 16 inches. 


ait.” ee 
WALTER SHIRLAW 


The Sonnet 
(Water Color) 


A figure of a stately young woman standing in a pensive attitude 
while she turns the leaves of a book. A background of tapestry showing 
a vista of columns. Distinguished in color and attractive in general 
aspect. 


Signed at the left. Height, 19 inches; length, 12 inches. 


ya 146 
PUG ti 
THEODORE ROBINSON wy 
Twachtman’s House . 


The house roofs and the stone wall surrounding the garden are partly 
covered with snow and are in shadow, while the late afternoon sun falls 
on the white-mantled slope beyond and on a strip of the foreground. 
This is a celebrated picture, and one of the finest of Theodore Robinson’s 
beautiful transcripts of winter. 


Signed at the left. Dated, 1892. Height, 18 inches ; length, 22 inches. 


| 147 : 
H. BOLTON JONES 
A Late October Afternoon 


A creek, lined with trees almost bare of foliage, winds through the 
meadows and reflects the sky and the twisted shapes of the tree trunks 
and branches. The sky is composed of gray clouds broken by rifts, 
i through which is seen the tender blue of space. The fields are still 

green, and the willows still carry their greenish-yellow leaves. Sunshine 

fills the picture and casts shadows on the grass. The general effect is 

very attractive, and the subject is rendered with great truth to nature and 
 veracious quality of color. 


Signed at the right. Height, 20 inches; length, 30 inches. 


nih 148 


SAMUEL COLMAN 


‘\* ~~ Rocky Farm in Autumn, Newport 


A fine piece of color composed of the ae red and brown of the 
| rocks and earth, the deep blue of the sea, and the warm light gray of the 
i sky. The composition is simple, and the execution direct and compre- 
; hensive. 


Signed at the right. Dated, 1880. Height, 12 inches; length, 27 inches. 


ae 


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: “s. . YA of wr | 


ex; 
na’ Sf , .  HORATIO: WALKER 
i ii fg ' A Spring Morning 
i NaF 
| (Water Color) 
é 
“| Two calves, one black, the other dun color with spots of white, stand 


in the barnyard. A tree with spring blossoms grows in the foreground, 
and over the fence appears a view of hilly country with groups of trees. 
A beautiful water color, marked by Mr. Walker’s best qualities of color 
and simple but effective handling. 


Signed at the left. Height, rs inches; length, 21 inches. 


150 : a 
D. W. TRYON ey 
The River, Evening 


_ The placid river fills the foreground, and on the bank in the middle 
distance a line of trees appears in graceful silhouette against a tender 
evening sky. At the right, farther away, the moon is just rising over 
dense masses of foliage. The general effect conveys the mystery and 
poetry of the hour, and the picture is one of refined but virile quality 
of color. 


Signed at the right. Dated, 1892. Height, 1434 inches; length, 2014 inches. 


A. H. WYANT i. 
(Nv 


Early Autumn 


In the middle of the plain, bordered by trees with foliage touched by 
the early frosts, a stream finds its way through the brown grass and 
herbage. A cowdrinks from its waters in the middle distance. Over all, 
a clouded sky of delicate gray and white. A picture most characteristic 
of the great artist who painted it, and remarkable for simplicity of means 
and charm of color. 


Signed at the left. Height, 12 inches ; length, 16% inches. 


— ft 152 | u 
A Fs a LOUIS MOELLER Qe 
A Doubtful Investment 


On the sidewalk before a gloomy looking doorway with a pawn- 
broker’s sign are two men. One is apparently selling a pawn ticket to 
the other, who reaches into his waistcoat pocket for the purchase money. 
His face shows that he is doubtful about the transaction, while the other 
places his hand on his shoulder and talks to him with confidential encour- 
agement. A remarkable example, very closely finished, and a unified piece 
of quiet color. 


Signed at the right. Height, 1114 inches ; length, 7% inches. 


rf ’ 
ae 153 


A Y an H. W. RANGER 
Woods at Trouville 


(Water Color) 


A woodcutter’s hut with sloping thatched roof, the eaves coming 
nearly down to the ground, stands in the forest where there is a partially 
cleared space, and some tall trees, bare of foliage, grow in the foreground. 
The sky is gray, and the general effect is one of fine, sober color. 


Signed at the left. Dated, 1889. Height, 13% inches; length, 10% inches. 


154 
THOMAS MORAN 


Morning on the St. John’s 


The scene is at the mouth of the river, with the buildings of Jackson- 
ville on either side. The effect is one of sunrise, with tender tints of 
the morning glow in the clouds. Absolutely lovely in color and in every 
way a rare piece of painting. 


Signed at the right. Dated, 1881. Height, 10!4 inches; length, 15% inches, 


Hb ae 


155 
fii" J. FRANCIS MURPHY 
The Deserted Farm 


Gray and lowering weather enshrouds the old farmhouse standing 
lonely and neglected among the trees on the right. The hills on the left 
in the distance are brown and cheerless, and the gray sky is troubled and 
threatening. A strong, simple piece of color, broad and effective in 
treatment. Exhibited at Munich, 1895. 


| ae 


Signed at the right. Dated, 1889. Height, 12 inches ; length, 19% inches, 


PS... CHURCH ; 
Cph 
“ Good-by, Sweetheart”. oo 
(Water Color) 


Four Polar bears hitched to a long, low sleigh, with another bear as 
driver on the back seat, are sitting in their harness in the deep snow of 
the arctic regions, while a little cupid of the North Pole, clad in warm 
blanket-coat and hood, embracesa little girl equally well protected against 
the frost, and three jack-rabbits and two snow-birds in the foreground 
look on approvingly. A quaint conceit Ls auen with delicate re 


and skilful technical force. f* Be 
G28 oded 
Signed at the right. Dated, 1888. _ Height, 2% faches length, 29 inches. 
ne ool 


[Bor 157 


WILLIAM S. MACY 
| The Meadow Brook 


A midsummer pastoral, showing green meadows traversed bya brook, 
a herd of cows, and a group of trees, and a bit of high ground covered 
with bushes. It lookscool and pleasant at the brookside, for gray clouds 
obscure the sun, and the rain may come to gladden the wild flowers that 
grow in the pastures. This is an excellent example of the work of an 
artist who has been compelled of late by ill-health to give up painting. 
His pictures are now very rarely seen outside of private collections. 


Signed at the right. Dated, 1878. Height, 1214 inches; length, 19% inches. 


ei rial 


PocH. hagas * 


Gamekeeper’s Hut, Kerry, Ireland 0°" 


A hut with stone walls and low, thatched roof is seen on an eminence 
among the mountains; and beyond, the misty atmosphere envelopes the 
peaks which are farther away. Fine in color and delightfully simple in 
its interpretation of a vaporous effect. 


Signed. Height, 11% inches; length, 19% inches, 


ah ABD . a ey 


156 . ee 


oP 


R. A. BLAKELOCK 


i o- OM er eG ne 


The Nymphs 


The composition shows a nook in the edge of a forest, with a brook 
trickling down a rocky bed, while three small figures with draperies of 
white, blue, and red form a group seated amid the herbage. In the 
distance the walls and turrets of a castle are seen, and the sky of dark 
blue is varied by cloud masses of white and gray. A semi-classical motive 
treated in Mr. Blakelock’s characteristic manner. 


Signed at the right. Height, 16 inches; length, 24 inches, 


De 1k 160 


4. WILL H. LOW . 


> The Brookside 


A sylvan idyl, charming in the grace of the nude female figure seen 
seated in profile on the bank of astream, and the harmony of the color 


scheme, with its notes of green and pink, contrasting with the delicate 


flesh tints. The figure is drawn and modelled with delicate touch, and 
the work is delightful in sentiment. 


Signed at the right. Dated, 1890. Height, 734 inches; length, ro inches. 


(ace oe 161 Aap 


in SY") OALBERT P. RYDER 


q We” ut 
4 
~~ 


Launce and his Dog 


A young man in red hosen and doublet of gray stands in a wood with 
his dog looking up at him. This picture, a color suggestion merely, with- 
out intention of finished detail, is warm and rich in general tone. 


Height, r2 inches; length, 6 inches. 


162 
ROBERT C. MINOR 
Eventide 


A fine piece of color, and a most representative example. Groups 
of trees are seen in the foreground on either side of the composition, and 
in the distance are some houses. An evening sky, very atmospheric in 
quality and cool in color. This picture is remarkable for its sterling 
painting and beautiful, poetic sentiment. 


Signed at the left, Height, 22 inches; length, 30! inches. 


yd 7: ee 163 


J. ALDEN WEIR ny [oe ae 
Lengthening Shadows Bis 


One of Mr. Weir’s most celebrated landscapes. It was exhibited at 
the Paris Exposition of 1889, and at Munich in 1895. The subject isa 
steep hillside with a winding road, groups of trees, and several saplings, 
and over the brow the gable and roof of a white house. The afternoon 
sky is blue, with a few white clouds. The foreground is dark under the 
long shadows which creep up the hillside, throwing the interest in the 
picture into the central part of the composition, where the sun lights up 
the grassy slopes. Extremely artistic in FORE 2On, admirably paibiedeg 


and fine in color. i sy" Aa Fee Aton ff 4 


Signed at the left, Dated, 1887. Height, 21 ¥, Paphen ; length, 25 inches. 


ee Ete: ae 
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ergot 


F/O ‘ v7 - 164 pH ; 7 oe a fe eee nape : 


Jf fF 4 senses 
F. S. CHURCH GA seems 
The Mermaid and the Sea Wolf 
This is the first picture by Church purchased by Mr. Evans. It was y 
exhibited at the National Academy in 1883. Engraved for a frontispiece 


in Harper's Magazine in 1895. ‘The composition shows a young mer- 
maid riding a sea wolf through the water, her blond hair streaming be- 
hind her, as she urges her swimming mount upward through the flood. 
A purely fanciful subject treated with characteristic force and originality. 


Signed at the left. Dated, 1883. Height, 14 inches ; length, 25 inches. 


Cg | 
JG io) : ee 
CHARLES A. PLATT 
Clouds 


Erroneously catalogued elsewhere as ‘‘Spring.” Awarded the Webb 
Prize at the Society of American Artists in 1894. A hilly foreground, 
with a valley beyond, and distant hills, the whole overcast by a sky of 
broken clouds of white and gray with patches of blue. A fine sweep of 
country with beautiful atmospheric effect. Exceedingly fine in composi- 
tion. 


Signed at the right. Height, 26 inches ; length, 35 inches. 


ee. 166 
M. F. H. DE HAAS 
A Breezy Day on the Tyne 


The scene is at the mouth of the Tyne, witha rocky shore in the fore- 
ground, where the waves of the sea come rolling in. Steamers and 
saiting vessels are seen in the middle distance, in the offing, and head- 
lands mark the farther shore on the right. The sky—a very luminous 
one—is filled with masses of gray and white clouds save at the left, 
where the blue shows through. Several figures are seen in the fore- 
ground. An important composition, and a representative example of De 
Haas. 


Mi Signed at the right. Height, 24 inches; length, 38 inches. 


\ p + a a 167 

| |" Pe a ; vd wn / 

iI we om tS. we 3 H. W. RANGER 
| | el v 

i tle A Veteran 


| ‘ | A great oak with autumnal foliage stands in a valley encircled by 
i wooded hills. Near the middle of the composition a portion of the hill 
appears cleared, with a white house on the crest. Over all, a fine sky 
with troubled clouds of white and gray. There is a remarkable feeling 
of space in this picture, and the composition is striking. In color, the 
work shows Mr. Ranger’s best qualities. 


Signed at the left. Dated, 1894-7. Height, 28 inches; length, 36 inches. 


it. 


690.7 168 


CARLETON WIGGINS 4 VA! 


Lowland Pasture 


Two fine cows, one black and white, the other white with head and 
neck dark red, are grazing in the foreground. The sky is filled with 
gray clouds. The animals are splendidly rendered, and the composition 
is extremely effective with its fine color notes and simple treatment. 


Signed at the left, Height, 24 inches ; length, 33 inches, 


169 


3 S Q: ‘ a felt al 
Pa a! re, P 


A. H. WYANT ak 
Driving Mists od 


A plain in the foreground, rising ground and clumps of trees and 
bushes in the middle distance ; and béyond, some steep-sided blue hills, 
over which, partly obscuring them, float clouds of white mist. The 
sky is breaking up in the increasing power of the sunlight which, near 
the top of the picture, is straggling through the clouds. A splendid 
piece of color, with sober browns and yellows contrasting with gray tints 
in a sky of peculiar delicacy. Subtle in its scheme of color, this picture 
is, at the same time, very powerful in attractive force, and unified in 
general aspect. 


Signed at the right. Height, 26inches; length, 4o inches, 


7 ele 170 


GEORGE H. BOGERT 


Morning at Haarlem 


On the right, the great gate of the city, from which, by the bridge 
crossing the canal, leads the road to Amsterdam. Windmills and houses 
on the left bank beyond the bridge. A man pulling a bulky rowboat 
in the water in the foreground. Overall, asky of great white clouds with 
here and there a patchof blue. Soberly rich in color, and impressive in 
general aspect. 


Signed at the left. Height, 28 inches ; length, 36 inches. 


vA 


os ALP: Ac 171 
wie sé. S. CHURCH 
St. Cecilia 


One of Mr. Church’s most celebrated pictures, and one which dis- 
plays the delightful qualities of his art in their greatest perfection. The 
graceful, youthful figure of the saint is depicted seated on a bench be- 
fore an organ, with two angels listening with wrapt attention to her 
divine music. A background of dark-green foliage and a distant glimpse 
of sky at night effectively relieve the heads and figures of the three 
personages. The head of St. Cecilia, seen in profile, is distinctively re- 
fined in type and lovely in expression. 


Signed at the right. Dated, 1898, Height, 27 inches; length, 30 inches, 


” 


172 
2° g%° GEORGE INNESS 
The Valley “| a vil Day 


No more individual and colo darn is if existence than this beau- 
tiful picture. Meadow lands afd trees fill the foreground, and some 
houses are seen amid the foliagein the distance. The sky is filled with 
heavy clouds, and the scheme of color abounds in warm, rich notes. 


Signed. Dated, 1892. Height, 30 inches; length, 45 inches. 


a QS/Fad: 
Hi : 4 | : 173 
a Wy. A. H. WYANT 


a fAutumn)) Keene Valley 


Cd ‘ 
a aoe 


| \A superb oemnle The view shows a shallow stream in the fore- 


F ground, and a sandy road crossing it by a culvert in the middle distance, — 
ie ‘ f On the right, high ground and a group of trees. Beyond stretches the 
ii ™ valley, with a range of hills at the horizon. Over alla gray sky of lovely 


quality. Very beautiful in its quiet color scheme and unified in general 
effect, this is undoubtedly one of the most perfect Wyants in exist- 
ence. 


Signed at the right. Height, 20 inches; length, 30 inches. 


+ 
Aaa ¢- 174 ay 
GEORGE FULLER |‘ 
Bringing Home the Cow 


Meadows fill the foreground, and a group of trees is seen at the left, 
on the crest of a gently sloping hill. A girl comes through the pastures, 
guiding a white cow. The sky is warm gray, and shows the fading 
evening light at the horizon. <A very beautiful composition, and one of 
the most notable of George Fuller’s pastoral creations. 


Signed at the left. Height, 30 inches; length, so inches. 


| 175 ? 
fi oe J. G. BROWN pg ff. 


The Longshoreman’s Noon 


_A pile of bales of cotton on a pier of the New York water front: 
forms a convenient and comfortable resting place for fifteen or sixteen 
longshoremen, who are grouped about it at the dinner hour. One, who 
has laid down a newspaper, is seen addressing four or five companions: 
and bringing his horny palms together in an expressive and emphatic: 
gesture. Others are too tired for politics and are contentedly dozing.. 
In the background the great hull of a steamer, an oyster boat, tugs, and' 
general shipping are seen, and a pulley horse is munching his hay.. 
The different types of character are well rendered, and the picture as a: 
whole is true to nature and full of local interest. Honorable mention,, 
Paris Exposition of 1889. 


Signed at the left. Dated, 1879. Height, 33 inches; length, 50 inches.. 


> 176 » * : oe 
ell ee 


B.S CHURCH Qe 
The End of Winter 


Winter, a young woman in robe of lilac, accompanied by polar bears, 
is chased away by smiling Spring, clad in white. The figure personi- 
fying Spring holds in leash a young Cupid, who has two lambs gam- 
bolling at his side, Spring pelts Winter with blossoms, which turn into 
snowflakes as they fall. An important work, executed with great charm 
of color. 


Signed at the right. Dated, 1899. Height, 24 inches ; length, 48 inches. 
\ 


I ; 
aw 15 RT sail 77 
x ae GEORGE INNESS 
| Ny 
vo Georgia Pines, Afternoon, 1886 


Te a a 
Of this great work, a masterpiece of landscape painting, it is re- 


corded that George Inness gave it to his wife with the remark that it was 
his best picture. As the title shows, it was painted in 1886, when the 
artist was in the full vigor of his power and maturity of his achievement. 
A broad expanse of bottom lands fills the foreground. On the right are 
the pines, with straight trunks and massive tops. On the left, a house 
and thicket. In the distance the country is lighted up by straggling 
sunshine. The sky, clear and blue at the horizon, is covered with clouds 
above, one great mass of white appearing just to the left of the pine trees. 
The predominating color notes are the greens of the foreground and the 
pine trees, the blue of the sky, and the white and gray of the clouds. 
These tints, cool and intense in quality, are combined with a wonderful 
sense of sympathetic harmony into an ensemble of the greatest distinc- 
tion and beauty. 
Signed at the right. Height, 24 inches; length, 36 Sova ¢ 


Normapgs Tr Tees 


A splendid group of great treepfin the left pelea rises to the top of 
the picture. On the right, a stream and a stretch of meadow, with a line 
of tall, stately trees farther off. The sky of blue and white envelops the 
an whole, and with its color, very characteristic of Martin, harmonizes de- 
lightfully with the warm greens, browns, and yellows of the trees and 
foreground. This picture gathers in its ensemble Martin’s finest qualities, 


i Signed at the right. Height, 28 inches ; length, 36 inches. « 
i 
So BOA 
Rs Zh 179 
ny rs alae a” is GEORGE INNESS 
i a - if pe a ig ~ e: y (‘ , 
yr V4) &, .. Nine O'Clock 


\ The village street fills the foreground, and on the right are some gray 
: houses with candle-light showing through the windows. On the left, 
some thickly-foliaged trees, beyond which rises the spire of the church, 


with illuminated clock-face showing the hour of nine. A girl anda dog — 
are coming along the road. High in the sky is the silver moon at full, 
shedding light over the landscape. Rarely delicate in color, and suavely 
painted, this picture stands as one of the most beautiful and poetic works 
signed by the master. 


oe Signed at the right. Dated, 1891. Height, 30 inches; length, 45 inches. 
a : ve 

bate Ne | 
WINSLOW a yl. ay 


Weather-beaten 


A magnificent marine on the coast of Maine, i ad at masses of 
brown rocks on the shore in the foreground, and a surging sea beating 
over them, and crashing as they break intowhite foam. The sky is dull 
gray, and the wide expanse of ocean lies under it in the distance, showing 
dark green, with a white crest or two where a wave is breaking. (A pic- Ot 
ture eminently worthy of the great American painter, and possessthg all 
his most virile qualities of color and execution), Awarded the Gold 
Medal of Honor at the Pennsylvania Academy of Fine Arts, Phila- 
delphia, 1896. 


Signed at the right. Dated, 1894. Height, 28 inches; length, 48 inches. 


pate 


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_ THIRD EVENING’S SALE 


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FRIDAY, FEBRUARY 2, I900 


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THIRD EVENING’S SALE 
FRIDAY, FEBRUARY 2, 1900 


AT CHICKERING HALL 


BEGINNING AT 8 O’CLOCK 


Die T x8: 


JERVIS McENTEE 


/$e 


Autumn in the Catskills 


A stream flowing through the woods in the heart of the mountains. 
The trees are in ful) autumn dress of yellow, red, and brown, but the 
tints are in no sense glaring. <A sky of light gray and white, at the right, 
offers a pleasant contrast of color, and the white trunks of birch trees at 
the left serve to balance the note. 


Signed at the left. Height, 15 inches; length, 24 inches. 
| / a pal 182 
vy, ? i, WILLIAM M. CHASE 


* pod. Fairy Tale 


One of Mr. Chase’s delightful renderings of Shinnecock Hills land- 
scape, with a pretty group of a young mother and her little girl in the 
meadow, in the foreground. Their summer costumes of white and pink 
form charming notes amid the landscape tints of green. Far away over 
the hillocks is a strip of blue ocean, and over all the sky of paler blue, 
with a white cloud floating in space. 


Signed at the right. Height, 16 inches; length, 24 inches. 


\I 


Y 


oe) BeBe $s 183 
H. BOLTON JONES 
no 


An Autumn Afternoon 


A placid river lined with slender trees nearly bare of foliage. Beyond 
are green fields and some houses. A gray sky with a stretch of white 
at the horizon. A quiet autumnal scene, truthfully depicted. 


Signed at the right. Height, 16 inches; length, 24 inches. 


4 184 
J: H, 2BORERT 
ye 
An After-dinner Nap 


A great grimalkin, sleek and comfortable, with a pink ribbon bow, 
sits contentedly dozing on a table covered with a dark green velvet cloth. 
Leaning against the wall is a large brass plaque, and a pewter flagon 
stands near it. The composition is most effective, and the cat is depicted 
with unrivalled knowledge of his nature, and fine technical skill. En- 
graved in the Century Magazine. 


Signed at the left. Height, 24% inches; length, 32 inches. 


oy 
p ~! o2J 185 a K rb. 


W.. JT. RICH ARIS 


” hd | Land’s End, Cornwall et?" 


* 2 ¥ 

High cliffs with castellated rock faces, and gre®f pastures on top, fill 
the right foreground ; and on the beach, at the left, are masses of rocks. 
The sea comes gently rolling into the cove, and breaks on the distant 
headland. Far away on the horizon isa vessel, hull down. The sky is 
clear in a strip below, but rises over all, to the upper part of the composi- 
tion, in successive curtains of gray and white. A fine example of the 
work of one of the most popular of American artists. 


Signed at the right. Dated, 1882. Height, 25 inches; length, 35 inches. 
qoute e 


Eerie <a eee 


oo 
< iy mr} 


ms 37: “a 186 
] 50 MARIA A’BECKET 


New Hampshire Woods 


A few trees in the foreground constitute the motive of the landscape. 
Beyond is a forest, and the whole is painted with warm, rich color. 


Signed at the right. Height, 20 inches; length, 24 inches. 
G0 ig : Ve oe 
oY JRO 
fF 


The Last of the Snow 


Under a dull gray sky lies a landscape in the outskirts of a country 
town, with houses and groups of trees in the middle distance. In the 
foreground are patches of snow that have not yet melted away before the 
advance of the warmer weather of early spring. Strong in color and 
veracious in general effect. 

Signed, Height, 25 inches; length, 30 inches, 


J Sd“ 188 


jy © MORGAN McILHENNEY we AY 


Morning 
(Water Color) 


A pastoral composition, showing a young shepherdess with her flock. 
She sits on a bank at the right, where there are some tall trees with 
slender trunks. In the middle distance is a lake, and the morning sky, 
of delicate gray, shows a pale pink flush at the horizon. Charming in 
sentiment and forcefully painted. 

Signed at the right. Height, 21 inches ; length, 29 inches. 


Be SF Or tee 
Pe | 
, oe GEORGE H. BOGERT 6: 


»® rate 190 if wr 


| 
| 
4 


A Showery Day near Delft, Holland 


The houses and windmills are seen against the sky of broken gray and 
white clouds in picturesque silhouette in the middle distance. In the 
foreground a pond, and a meadow with some cows. A picture of fine 
general aspect, attractive in composition, and full and rich in color. 


Signed at the right. Height, 25 inches; length, 37 inches. 


an A. H. WYANT kt Db. 


A Cloudy Day 


A wide expanse of moor, with a thicket of small trees at the left, and 
blue hills in the distance, is enveloped in the chilly atmosphere of an 
October day without the friendly warmth of the sun. The autumn tints 
are sober and reserved. Over alla beautiful sky of pearly gray, accented 
by a central mass of vapor with whitish crests. Very simple in motive, 
this picture is admirable in its subtlety of color and unity of effect. 


Signed at the right. Height, 18 inches ; length, 24 inches. 


af coe C yor 


598 eh GEORGE INNESS 


Pine Woods me See err aro? 


The trees, with their tall, straight eine! pee in level ground car- 
peted with pine needles. Several figures dotted about the grove give life 
to the silent prospect. A sort of avenue or roadway leads from the fore- 
ground into the distance of the picture. In color this work is subdued 
and forceful. 


Signed at the right. Dated, 1879. Height, 18 inches; length, 24 inches. 


RF age 


 Siliiee 
R. L. NEWMAN a eK 
Christ Stilling the Tempest 


The ship, with sails torn and fluttering, and the bow thrown high up 
out of the water by a great wave, occupies the centre of the composition. 
At the stern is the upright figure of Christ, clad in red, with arms out- 
stretched in a gesture of command. ‘The blue and green of the sea, the 
sky filled with storm clouds of black and gray, and the dark mass of 
figures crowded together in the bow of the ship, are the other features 
of the composition. An important example, suggesting the work of 
Delacroix in the richness of its color scheme. 


Signed at the right. Height, 14 inches ; length, 18% inches. 


na? 193 


advo FS. CHURCH | ay 
Air 
Twilight 


The slender female figure typifying Twilight is riding through the 
evening mists on the back of a white owl. Behind her head a crescent 
moon. Diaphanous white draperies float from her figure as she travels 
through the clouds, and her hair streams behind her, pe upward by 
the wind. 


Signed at the left. Dated, 1888. Height, 20 inches ; length, r2 inches. 


Te ial 


SANFORD R. GIFFORD 


Mount Katahdin from Lake Milnoket 


The lake in the foreground, the granite tops of the mountains in 
the distance. An Indian canoe full of men is seen making its way 
across the waters. Fine in color and full of atmosphere. 


Signed at the left. Height, 8% inches; length, 16 inches. 


Mert, 


782. ak Os 195 


jy. RHODA HOLMES NICHOLLS 


A Venetian Canal 


A radiant little picture, with a smiling sky of white and blue re- 
flected in the waters of the canal, which is lined with buildings with 
white, red, and pink walls, and bridged by an arch in the distance. Still 
farther away, the white mass of a church with high dome and towers 
appears with charming effect. 


Signed at the left. Height, 12 inches ; length, 6 inches. 


Hoel SO: ad 196 


0 oi 
V'" 4 FREDERICK DIELMAN 


- My Lady a ye 


Head of a pretty young woman in modern costume, with black hat 
and jacket. A frill of lace encircles the neck, and a white rose is fas- 
tened on the breast. The forehead and eyes are in shadow. Charming 
in expression and forceful in reserved color. Background of gray. 


Signed at the upper left. Height, 9% inches; length, 714 inches. 


Xd. 197 
jv? P 
oy R. SWAIN GIFFORD 
Sask 
iy Salt-works at Dartmouth 


A little picture of excellent quality, showing a green plain with 
patches of sand in the foreground, and the sheds and windmill of the 
salt-works beyond. A gray sky. 


Signed at the left. Height, 7 inches ; length, 11% inches. 


<o ' 
O77. ee wd ag ae 
ROBERT C. MINOR me 


An Autumn Sunset 


A piain with several great trees, whose upper branches reach to the 
top of the composition. The sky is dark above, and shows spaces of 
deep, dark blue; while at the horizon, where the clouds are clustered, 
there are brilliant tints of red, orange, and yellow. 


Signed at the right, ; Height, 12 inches ; length, 16 inches. 


S Jo” 199 
he F. S. CHURCH At 


er ; " 
The Shepherdess \ 


- A young girl in pink, depicted in three-quarters length, carries a 
lamb against her breast with her left arm, while with the right hand she 
holds a shepherd’s crook. The mother sheep at her side looks up at her 
with a questioning but confident expression, 


Signed at the left. Dated, 1899. Height, r9 inches ; length, 14% inches. 


oA a WE a 200 : r ri 
160 WALTER SHIRLAW VY y 


Autumn id 


A nude female figure, with a piece of blue drapery, seated on a grassy 
bank in the forest, by the side of a pool. The color shows a fine golden 
tone, and the figure is relieved, with agreeable effect, against the shadowy 
background of woodland, with a bit of sky showing between the tree 
trunks in the distance. 


Signed at the left. Height, 20% inches; length, rs inches. 


0 J 4 0: " 201 
, Nt ‘JOHN C. NICOLL 


On Vineyard Sound 


A strongly painted marine, with some jagged rocks sticking out of the 
water in the foreground, the distant shore on the right, and a streak of 
light at the horizon, where is seena singlesail. The sky is gray, and the 


effect one of lowering weather. 
Height, 12 inches; length, 2x inches, 


Signed at the right. 


oy her & pay ot: rs 

° 202 

_ "EASTMAN JOHNSON 
Puss in the Corner 


A cat sits up in the corner of a sofa covered with a rich Oriental rug. 


A boy in a black blouse, with gray stockings, holds up his finger and 
An attractive, well-painted genre picture. 


teaches Pussy his manners. 
Height, 19 inches; length, 15 inches. 


Signed at theleft. Dated, 188z. 


e 


oe 
- vo Sid: 203 
*~ GEORGE INNESS 


The Moon at Night 


a 
ee ae 
Wes 


Sheep are grazing in the foreground, and a bonfire smoulders at the 
right. The shadowy figure of the shepherd is seen nearby. The moon 
is seen high in the sky, at the left, and the poetry of the night is admirably 
realized. Truthful in effect and synthetically treated. A noble land- 


scape. 


Signed at the left. Dated, 1890. Height, 2234 inches; length, 27 inches. 


eg. 204 
330 LOUIS MOELLER ont 


“Beat that!” 


} 


Five men about a table. One has just thrown the dice, and invites 


his companions to beat his score if they can. An excellent study of 
character, and very skilfully painted. The white shirt-sleeves of one of 
the men in the immediate foreground constitute an effective note. 


Signed at the right. Height, 20 inches; length, 25 inches. 


WEFT. 205 | ; 
Wve FS. CHURCH < 
The Chafing-dish 


On a carpet of grass, in a glade, in springtime, a young girl is on her 
knees before a chafing-dish, stirring a smoking porridge, while a Cupid 
brings some new ingredient in a bowl; and a brown bear, with napkin 
tied under his jowl, sits close by, and holds his platter in expectant atti- 
tude. ‘Two white doves, perched on a bit of log in the foreground, are 
also included in the company constituting this fanciful picnic party. 


Signed at the right. Dated, 1897, Height, 18 inches; length, 22 inches. 


ag Zi - 206 r 
THOMAS W. DEWING yal 
Bpre 
A Lady in Blue 


A charming example, showing a young woman seated, in three- 
quarters length, clad in a ball gown of light blue. The face, neck, and 
arms are painted with that rare delicacy of color and subtlety of drawing 
which characterize Mr. Dewing’s work, and the ensemble is one of dis- 
tincuished beauty. The head, turned toward the spectator, reveals a 
delightful type of maidenly grace. 


Signed at the left. Height, 19!4 inches; length, 17 inches. 


od) (f Yad 


6 ad 207 


y- F. K. M. REHN 


‘ A Fisherman 


Ae. 


A fisherman’s boat under full sail coming toward the spectator over 
the heaving sea. The sky is composed of gray and white clouds. 
Strong in effect and frankly painted. 


Signed, Height, 12 inches; length, 16 inches. 


Se 208 
Cain A. H. WYANT 


p ; ‘ a Early Twilight E oe pon i 


A level tract of land, with a pond and winding road. At the horizon 
some clumps of trees. A strong sky of tumultuous masses of clouds, 
and the sombre foreground growing slowly darker as the night comes on, 
form the interesting features of this forceful landscape. 


Signed at the right. Height, 13 inches; length, 18 inches. 


py? ote 


Ne J. FRANCIS MURPHY 
ty bo : 
od A Clump of Trees 


r 4 


Pa Cee EF ——e 
“he 
. 


Tall, slender, white-trunked trees, with sparse autumnal foliage, are 
in a group on the right. Beyond, at the left, a forest. Sky of gray. 
This is a fine little picture, marked by charming qualities of color. 


Signed at the right. Height, 9% inches; length, 7% inches. 


ae ace | “ein 


The Indian Hunter 


This small figure of an Indian returning from the hunt, with a red 
crane slung over his shoulder, has as much character as a bit of Greek 
sculpture. It is drawn with precision and modelled with academic 
accuracy. With its dark background the picture forms a striking piece 
of color and possesses a fine dignity of aspect. 


Signed at the right. Dated, 1890. Height, 13 inches; length, 9% inches. 


ARTHUR B. DAVIES 


ee WE 


at es 


On the Road to the Enchanted Castle 


A sombre forest, through which a knight on a white horse and little: 
bands of children are taking their way to the enchanted castle seen in 
the distance through a gap in the trees. The color is warm, the com-. 
position decorative, and the knight’s cloak of scarlet forms a telling: 


note. 
Height, 7% inches; length, 16% inches... 


| a 
Va , 212 . 
: CHARLES D. WELDON ate 


Use Temple Court of Nikko, Japan 


(Water Color) 


Two figures are seen in the distance, on the paved walk of this spa- 
cious courtyard, and the buildings, with their architecture showing or- 
namentation and sculpture in bronze and marble, are depicted with 
truthful observation and much beauty of color. The picture contains a 
great deal of detail, but it is broad and comprehensive in general aspect. 


Signed at the right. Height, 9% inches; length, 14 inches, 


Pete. 2 


CHARLES: HME 


The Farm 


, The farm-house and a great oak tree reaching high above its roof 
iW occupy the middle of the canvas. The farmer is astride his white horse 
at the door, and a stream with dam and sluice fills the foreground. 
The sky shows great masses of white clouds mingled with gray, and a 
spot or two of blue. . 


Signed at the left. Height, 14 inches; length, r2 inches. 


Pie EE 214 
AY ALBERT P. RYDER 


: 
J 
4 


es Stas 
aad 
ay 
e 
te ll 
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4 


The Sisters 


One of the sisters in this pretty little composition is standing up, 
the other seated. The principal color notes are red, pink, gray, orange, 
and brown. The two figures are relieved against a dark background, 
with the trunks of trees showing on the right. 


Height, r2 inches; length, 6 inches. 


. A) 
} ne Lad: 215 
wee J. F. KENSETT 
4 


A Quiet Day, Manchester Beach 


Formerly owned by the celebrated portrait painter G. A. Baker, 
N.A. The scene shows a headland on the right, with the sea filling the 
foreground and the middle distance ; a white sailon the horizon. A fine 
little picture, with all of Kensett’s best characteristics. 


Signed at the right. Dated, 1868. Height, 10 inches ; length, 18 inches. 


fee: 216 > 


)60 E:S. HAMILTON (¥¥ 
Slumber 


A wide marble seat crosses the composition in the foreground, and 
beyond lies a stretch of landscape under an effect of evening light. 
Two young girls, who have laid down their lyres, have cast themselves 
in graceful attitudes—one, whose robe is dull yellow, on the seat of the 
bench ; the other, clad in green, on the step before it, with her head 
resting on her arm. Subdued but forceful in color, and very well com- 
posed, this is a picture of attractive aspect and sterling general quality. 


Signed at the left. Dated, 1896, Height, 20 inches; length, 14 inches, 


ON een itil ie 
b SD Kes. CHURCH yf f 
aw Vv 


A Spring Song 


A Puritan maiden, whose hood has fallen back on her shoulders, 
stands in an orchard in springtime, listening to the song of the birds. A 
charming figure in gray and white, with a setting of pale green and the 
pink and white of apple blossoms. 


Signed at the right. Dated, 1896. Height, 24 inches; length, r2 inches. 


MG Jo” 218 a , 
bev HOMER D. MARTIN ~wWY" 


A restful composition with delightful pastoral feeling. Anirregularly 
built house with white walls and thatched roofs appears in the left centre, 
embowered in trees, and its lines reflected in the pond which nearly fills 
the foreground. On the right are fields stretching away to distant woods, 
and over all a summer sky of white and blue. A very fine example of 
Martin’s landscape painting from French motives and embodying his 
best characteristics. 


A Normandy Farm Ve Ch 


eotemogmncee TE 


Signed at the right. Dated, 1895. Height, 18 inches; length, 30 inches. 


Shas 


ane 


ow OF 
Sg? a3: 219 
per D. W. TRYON we \ 
é 


wv Daybreak vq r é 


A view, at early morning, of New Bedford Harbor. A few lights on 
the boats anchored near the docks on the opposite shore. Towers and 
roofs of the town in silhouette against the morning sky, where day is 
breaking. Luminous in effect and beautifulincolor. The waters of the 
harbor, in the foreground, reflect the tender tints of the sky. A very cele- 
brated example. Gold Medal of Honor, Prize Fund Exhibition, Ameri- 
can Art Association, 1886. Shown at Munich International Exhibition, 


1895. 
Signed atthe right. Dated, 1885. Height, 18 inches; length, 30 inches. 


iy oP Od: a 220 
> “CHARLES MELVILLE DEWEY 


Reflections 


In a broad, shallow stream some cows are standing beneath the shade 
of the trees growing on the bank. The summer sky and the dark foli- 
age are reflected in the water. 


Signed at the left, Height, 22 inches; length, 30 inches. 
A Od” 
221 
yj 4 4. HORATIO WALKER 
: j | Was Return of the Flock 
} Led 


The shepherd in blue blouse is bringing his flock of sheep and lambs 
to the fold at evening. The shelter, with thatched roof, occupies the 
right of the composition, and on the left appears a plain with a hay- 
stack. The sky is warmly tinted with the evening light. A fine exam- 
ple, admirable in color and in technical achievement. | 


Signed at the left. Dated, 1890. Height, 20 inches; length, 28 inches. 


to” 222 


Peo GHURCH 


The Lion in Love ’ 
(Water Color) & jue Nillew 


A beautiful maiden, in a clinging robe of white, is seated on a grassy 
bank, leaning forward, with her hands in her lap, and holding captive 
with a rope of flowers a noble lion who lies at her feet. The figure of 
the young woman is exceedingly graceful, and the lion is a splendid 
specimen of his race. The color scheme includes, besides the principal 
notes of white and the tawny brown of the king of beasts, the green of 
the grass and foliage and the blue and white of the sky. 


Signed at the left, Dated, 1883, wf Height, 17 inches ; length, 32 inches, 


COT 223 
hed v? | H. W. RANGER oa 2 ¥. 
A Connecticut Pasture é jae Me ihe if rd 


In the foreground a gently sloping hill, cut up by stone fences. On 
the brow of the hill somecattle are grazing. Thesky is blue, with white 
_ clouds, and very deep and fine in tone. Beautiful in general aspect. 


Signed at the left. Dated, 1899. Height, 28 inches; length, 36 inches. 


 e Vantk et ey 
GEORGE H. SMILLIE AD 


3o0 Gray Autumn 


Behind the Long Island dunes, where a road goes over Sai slope to 
the sea, a few sheep are grazing on the scant pasture, and a boy lies 
idling by the wayside. Near the top of the slope are groups of fir trees 
and some great boulders, and in the distance, at the right, is a glimpse 
of the sea. The sky is overcast with clouds of white and gray. A 
strong landscape, harmonious in color, and well composed. 


Signed at the left. Height, 19 inches; length, 33 inches. 


rv? rs: 225 


i g é Wau. Xo 
| j L Se SAMUEL COLMAN : 
{ ~—a | 
! NJ At Paradise, Newport 
A view from the cliffs, looking seaward. Dark clumps of trees in the 
foreground, the sea beyond, and a sky of blue with white clouds. 
i Signed on the right. Dated, 1887, Height, 16 inches; length, 26 inches. 
ne od 
1 TO 226 
I a HOMER D. MARTIN 

fr £h ® 

v Zf ‘ 

has Autumn on the Susquehanna 


A view in the wide valley of the Susquehanna, with the round-topped 
Pennsylvania mountains framing in the distance. Three trees with 
blackened trunks and ragged, broken branches stand up in the fore- 
ground and form an effective note in the rich but sober color scheme. 
The hazy sky is reflected in the river which winds among the hills. A 
picture of much dignity of aspect, and intensely colorful. 


Signed at the right. Dated, 1879, Height, r5 inches; length, 25 inches. 


an a ne, 


i r5d 
‘i ae P.'S. -CHUais 
‘i AA! Beauty and the Beast 


(Water Color) 


| A magnificent tiger is crouching on the bank of a stream in the jungle, 
| stretching out his neck to drink. Just before him, on the placid surface 
) of the water, is a pink lily in full, beautiful bloom. But while the lily is 
indeed a thing of beauty, and the tiger takes the other réle in the title of 
the picture, he too is beautiful in his powerful feline strength, and the 
glossy sheen of his tawny striped coat. An admirable piece of color. 


od 
Ps 
SEE, Se 


Signed at the left. Height, rz inches; length, 30 inches. 


GEORGE INNESS- wv , 


Landscape near Florence, Italy 


In the foreground are bottom lands with a stream, and cattle grazing. 
On the rising ground at the left, a white villa and clumps of trees. In 
the distance, a wide stretch of country illuminated by the sunshine. The 
foreground and middle distance are all in the shadow of the great clouds 
which partly obscure the sun. The sky shows a burst of light in the 
upper part, and the whole picture exhibits a fine feeling for atmosphere. 
The color scheme is rich and harmonious. 


Signed at the left. Dated, 1875, Height, 20 inches; length, 30 inches, 
aa? | 
229 . 
R. A. BLAKELOCK aye 


Moonlight ke 


A very important example. Low-lying country with a broad river 
fills the lower part of the canvas. All above is sky, deep, transparent, 
and harmonious in color. The full moon, half-way up from the horizon, 
sheds its light with gentle luminousness on the bosom of the water, and 
vibrates through every part of the landscape. Imposing in general 
aspect and eminently impressive in its mysterious nocturnal beauty. 


Signed. Height, 27 inches ; length, 37 inches. 


SLO . 230 
KY, CHARLES C. CURRAN 


Silent Night ~ 
A female figure, partly draped, with great spreading wings, is de- 
picted standing on the globe of the earth, which fills the lower part of 
the canvas. Executed in a low-toned scheme of color, with tints of dark 
blue, purple, and gray. 
Signed at the right. Dated, 1896. Height, 32 inches ; length, 18 inches, 


> 
H® FAPO- 934 
tt LOUIS PAUL DESSAR 
The Return to the Fold 


In the street of a French village at night, the moonlight illuminatiug 
the white plaster walls of the houses with thatched roofs, a shepherd 
is guiding his flock into the fold through the low doorway in the building 
nearest the spectator. The candle-light, gleaming through the opening 
between the shutters of another window, shows that it is part dwelling 
and part sheepfold. A few stars and a few clouds give variety to the 
sky. The masses of light and dark are very skilfully disposed in the 
composition, and the general effect is remarkably artistic and satisfying. 


Signed attheright. Dated, 1896. Height, 18 inches ; length, 24 inches. 
at 7 — 
& ot e . % 
y ,ye> «J. FRANCIS MURPHY 
/ ACN a US arta vote 
dg An Autumn Landscape 


‘ An open space in the woods, with a fine group of trees in the left 

\ foreground, all in shadow. Farther away the hillsides are bathed in the 
sunlight. The sky, almost filled with white clouds, shows a patch of blue 
near the top. This is an important work by Mr. Murphy, and is ex- 
tremely pleasing and satisfying in color. The sentiment of the autumn 
season is charmingly given, and the picture is dignified and impressive 
in general aspect. 


Signed at the left, Dated, 1899, Height, 24 inches; length, 33 inches. 
“4 Tike 
iw ’ 2 
peo 33 
A ‘ag 
fi Le i} WILL H. LOW 
ve, Asad Aes 
; “ey gee The Harvest Procession 
\ | : | 
\e A classic harvest festival procession is here depicted passing through 
N a wheat field. The figures are in three groups of three persons, In 


each is a young man with a maiden on either side. The three in the 


immediate foreground play on pipes or carry baskets of fruits and flowers. 
The next three are empty-handed, but walk with arms interlocked. The 
effect is one of pale sunshine, and the sky is partly covered with hazy 
clouds of delicate white and gray. The color-notes given by the 
draperies of the figures are pink, lilac, green, and blue. One of Mr. 
Low’s most important and excellent classical compositions. 


Signed at the right. Dated, 1893. Height, 19 inches; length, 31 inches. 


o>, 234 


nh 
A. H. WYANT .. QA . 


Jae 


(a A Cloudy y Day) Keene Valley : 


A sombre canvas with rich color effects and fine atmospheric feeling. 
The foreground, with great trees on the right, is entirely in shadow ; and 
beyond, a distant hillside is warmed by the late afternoon sun. The 
sky, vaporous and hazy, shows tints of blue near the horizon, while 
above it is filled with gray clouds. 


Signed at the right, Height, 16 inches ; length, 22 inches, 


Veo 235 
HORATIO WALKER 


/so or 


A Rainy eee 


Veet tite Me, 
2. arbre nom d olor) vy 
i.0\. 


Two calves, one red, the other white with t Pack spots, are standing in» 
the rain at a paling gate. The roadway swims in water, and the trees 
and grass are drenched. A sky of gray. <A representative example of 
Mr. Walker’s work in water color. 


Signed at the left. Height, 15% inches; length, 2114 inches. 


af pao” a 


i ; 
i | | a, wi ¥- D. W. TRYON 
sed On the Seine 


A busy scene on the Paris quays, in the outskirts of the city. 
Barges are tied up at the wharves. Men are loading and unloading carts 
on the shore, and a tug sends its white steam upward. Beyond is the 
stone bridge, with its arches spanning the river, and over all a sky of 
gray with patches of pale blue. Realistic in treatment and attractive in 
color, 


Signed at the right. Dated, 1880. Height, 16 inches; length, 24 inches. 


SOO oe 


ff: FREDERICK W.. FREER 


@ ; a 
“tees os wl 

FS ued 
ay 


Morning | 


/ A figure of a young girl in white drapery seated on a high-backed i 
' bench which is covered with a cloth of yellow. On the ground beside 
i m* i her is an incense-pot, with blue smoke floating upward, and in the back- 
i] ground is a fruit tree in full blossom. An attractive subject, painted with 
delicacy and skill. 


Signed at the left. Dated, 188s. Height, 13% inches; length zo inches. 


oe Oi 
, 238 


/ ‘Kahu .4~ CHARLES H. MILLER 
ys: At Stony Brook, Long Island 


( 
; \| Along the roadside, where the stream takes its way on the left, there 
| are houses and trees. A woman drives her cow homeward to a white 
cottage on the right. A color scheme of warm tints characterizes this 
picture—a representative example of Dr. Miller’s work, composed with 
much knowledge and feeling for the picturesque. 


Signed at the right. Height, 13 inches ; length, 19 inches. 


a7” x9 


In the Catskills 


The deep, wide valley takes up the lower half of the canvas, and the 
irregular forms of the mountains which fill the distance reach up toward 
the top of the composition, leaving a narrow space of sky. The general 
aspect of this picture reminds the spectator of ‘‘ The Delaware Valley,” 
““ New England Valley,” and other works by Inness in his interesting 
middle period. It is very rich and strong in color. 


Signed at the right, Height, 9% inches; length, 13% inches. 


we 


G52? | 240 om 
.¢ 


350 HENRY PETERS GRAY —y f. 
The Origin of Our Flag ' 


A female figure partly nude, and draped with the American flag, 
personifies the Genius of Liberty. Over her head is the eagle. One 
of the last works executed by the artist, and exhibited at the National 
Academy in 1875. 


Signed. F Height, 12 inches; length, 8 inches. 


SAO” a 


MARIA BROOKS 
iw | 


P oa 
Bashful yr x 


A pretty little tot in a white frock sits on a low stool, with her fingers 
in her mouth, in an attitude of shyness. Her blond hair and white 
frock, under a full effect of light, are effectively relieved against a dark 
atmospheric background. 


Signed at the upper right. Height, roinches; length, 6% inches. 


Se 
5 
: 
i 


ad er SAS gue ome 
wy ah WALTER SHIRLAW 
©, The Kiss 


Head and bust of a young woman with auburn hair, in Empire 
gown of pale yellow, upon whose shoulder is perched a white dove. The 
bird’s wings are extended as it balances itself in bringing its bill within 
reach of the lips of its handsome mistress. A landscape in subdued tints 
makes a fitting background. 


Signed at the upper left, Height, 12 inches ; length, rx inches. 


= we 7: 243 
, i * 
| al, ®, PLATT P. RYDER 


"Waa 


f Boys Playing Marbles 


i f A group of four little boys intent upon their game of marbles. Two 
| \ } are leaning over to watch the effect or the ‘‘ plump” which a third is 
XG about to make at the ring ; while a fourth, smaller than his companions, 
looks on with evident interest. Pleasing in color and attractive in sub- 
ject and execution. Exhibited at the Paris Exposition of 1889. 


Signed at the right. Height, 12 inches ; length, 17 inches, 


> Meese ery. MOP 244 
HENRY W. RANGER 


a 


i 
j A Nocturne 
f 
am i The full moon, in a beautifully toned sky, rises over meadows and 
: ‘ i hills on the farther shore of a river which reflects the light in a broad 
tH Ne band of glittering silver. In the immediate foreground, on the right, a 


cabin, with a man on horseback near the door; on the left, two trees. 
Just about to disappear behind the trees is a great barge making its way 
up the river under sail, with a skiff trailing at the stern. Exceedingly 
luminous in effect and a beautiful color harmony. 


Signed at the left. Dated, 1896. Height, 18 inches ; length, 26 inches. 


an oa 
ald ROBERT L. NEWMAN e ph : ; 


The Mystery 


A group of figures, with notes of blue and red in the draperies, with 
a classical landscape setting, the whole executed in a color scheme of 
warm, rich tints. A fine piece of tone, and a work attractive in general 
aspect. 


Signed at the left. Height, 24 inches ; length, 20 inches. 


oz oa = ee 246 


43§ FREDERICK W. KOST 
‘é , 
The Driftwood Gatherer \/ 


On the shore in the foreground, standing among the rocks, is a man 
in the act of hauling in a timber which has been carried in by the waves 
that beat on the beach with crashing force, shooting clouds of spray 
in the air, The sea toward the horizon lies dark and threatening under 
a stormy sky with black clouds. This is a splendid piece of tone, and 
one of the best works of a painter whose pictures are characterized by 
superlatively artistic qualities. 


Signed at the right, Height, 22 inches; length, 28 inches. 


cme at 
we : 
fj CHARLES MELVILLE DEWEY () yA Yee 
Return of the Hay Boats 


A celebrated picture. Two men seated in the bow of a barge loaded 
high with dried marsh grass are pulling down the river with long 
sweeps. The flat country and some low-lying hills occupy the middle 
distance, while above is a sky of clouds and broken masses of light. 
The misty atmosphere is admirably rendered, and the general effect is 
exquisitely poetic, Exhibited at the Munich International Exhibition, 
1895. 


Signed at the left. Height, 20 inches; length, 30 inches. 


Soo 


a 


248 
IRVING R. WILES 
The Sonata 


Two young girls in evening gowns—the one, in white, seated at the 
piano, and the other, in blue, with a violin, standing beside her compan- 
ion—form a charming group, skilfully composed, and painted with subtle 
and forceful execution. This picture is one of Mr. Wiles’s best-known 
works. It was awarded the Clarke Prize at the National Academy in 
1889, and took a medal at the World’s Fair, Chicago, in 1893. En- 
graved by Henry Wolf in the Century Magazine. 


\ 


Signed at the left. Dated, 1889. Height, 44 inches; length, 26 inches. 
oO v2 
2 © 4 J 
. 2d _ 249 
/ <7" WORTHINGTON WHITTREDGE 
val ve ; An Old House by the Sea 


A picture of the Berkeley Homestead at Newport, R. I. The house 
stands at the left, and a light in the kitchen betokens good cheer within. 
A well-sweep and a clump of trees are the other features of the fore- 
ground. Therosy sky looms up in the distance, and a glimpse of the 
sea shows that the house stands on the shore. The composition is effec- 
tive, and the color very sympathetic in tone. 


Signed at the left. Height, 20 inches ; length, 26 inches. 


bod. fs . 
PAP is 250 


pe THEODORE ROBINSON 
fe Valley of the Seine from Giverny Heights 


The composition shows a wide stretch of country, with a river flowing 

through the valley, in the middle distance; a white bridge crossing it, 

* houses scattered about in the bottom-lands, and blue hills in the distance. 

The effect is in pale sunlight, with cloud shadows floating over the land- 

scape, and a summer sky of blueand white. A distinctive work, possess- 

ing the fine qualities of color, the realistic aspect and luminous atmos- 
phere, which are characteristic of Robinson’s landscape painting. 


j dus 
Signed. \ Ne Al A dove Height, 26 inches ; length, 32 inches. 
ae 


> 


eM a “ 


———— 


) pt?  W. GEDNEY BUNCE peer: ; 


Sunset, San Giorgio, Venice 


A group of boats with splendidly colored sails looms up in the fore- 
ground, at the right. In the middle distance the city of Venice appears 
almost as if floating on the flood. The gay colors of the sails are re- 
flected in the water, and a high sky of blue, broken with warmly-tinted 
clouds, frames in a scene of picturesque, individual beauty. 


Signed at the left. Height, 29 inches; length, 36 inches. 


OCT” | 2x2 
See BEN FOSTER 4 4 > 
The Lonely Road 


The road winds from the foreground, between the outskirts of the 
forest which appears on either side in the middle distance. In the 
clouded sky is an open space at the left upper part of the composition, 
where the moon sheds its light on the landscape and tips the clouds 
with silver. Subdued, quiet color and fine harmony. 


Signed at the right. Height, 30 inches; length, 36 inches, 


ih a 253 


CARLETON WIGGINS AM 


ed evn Ww 
After Wind, Rain 


A flock of sheep, with the shepherd ahead and the dog bringing up 
the rear, is seen going along a road which leads from the foreground 
through a valley in the middle [distance, where clumps of trees are in 


\ 


shadow. Beyond, a plain bathed in sunlight. The sky shows great 
storm clouds coming across the picture from the right and a patch of 
blue in the upper portion. The effect depicted is one where the wind 
before the storm has massed the gray clouds in the sky; and the rain, 
following after, is beginning to pour in the distance. Admirable in 
general aspect and very rich in color. One of Mr. Wiggins’s finest 
works. 


Signed at the left. Height, 40 inches ; length, so inches. 


Ah FO es 


1s J 
y FRANK DE HAVEN 
/ 7 
Oe Bn, i Autumn Evening 
\ ss A composition of impressive style, showing great masses of trees on 
x the right, with the foliage of one reaching above the top of the canvas; 


a winding path in the centre foreground, and a gently sloping hill and a 
tree on the left. All this is in shadow. Beyond is a glimpse of hills 
lighted up by the last rays of the sun. The sky, partly filled with clouds, 
warm white at the horizon and dark gray above, shows the crescent moon 
and the evening star. 


Signed at the left. Dated, 1892. Height, 28 inches; length, 36 inches, 


a 
Lod O. 255 


") gy ELLIOTT DAINGERFIELD 
usr My Lady Rhododendron 


| V Seated figure of a young woman clad in drapery of rose color with tint 
of orange. The background is filled with the leaves and blossoms of 
rhododendron trees, with a bit of dark blue sky appearing in the right 
upper corner. The light in the picture is concentrated on the head and 
upper part of the figure. <A fine piece of rich and lumincus color. 


Signed at the left. Dated, 1896-7. Height, 36 inches; length, 30 inches. 


es 
wz? 
H. SIDDONS MOWBRAY | 


nt wat loréal 


It is the spring festival of flowers, and two maidens in miomne 
draperies, one in pink, the other in pale green, advance toward the spec- 
tator. The one in pink has an armful of blue flags, or flower-de-luce. 
The other waves a greeting to her companions, who are seen below, amid 
the trees and blossoms, treading a measure in graceful procession to the 
sound of pipes and tambourines. Charming in composition and delicate 
in color, this is a fine example or Mr. Mowbray’s treatment of ideal 
subjects. 


Signed at the right. Circular, Diameter, 24 inches, 


a ae 


Se 
rh CHARLES C. CURRAN 


he 


part 


rie) teen 
The Peris 7; } 


One of the most beautiful of all Mr. Curran’s fanciful subjects. The- 
Peris, lovely female shapes with diaphanous draperies, are seen reclining 
or moving about in a bower of white roses. It is, in truth, a fairy dell, 
and the fairies are as gentle and as lovely as the sweet flowers. The 
picture is charming in arrangement and very attractive in aspect, both: 
because of its delicate color and its finely realized poetic fancy. 


Signed at the left. Dated, 1898. Height, 18 inches; length, 32 inches.. 


gee, Oo.” 258 
908 wy GUY 


The setting for this excellent little figure is a scene on the New York 
water front, with the wide street, the piers, and masts of ships giving 
interest to the background. The little orange girl has her modest stock- 


The Orange Girl 


in-trade displayed on a dry-goods box at the street corner, and with 
clasped hands leans back against the brick wall, patiently waiting for a 
customer. The face is attractive in expression, and the picture is one of 
the best of Mr. Guy’s works in genre. 


Signed at the right. Dated, 1875. an hs length, zz inches, 
° 
“0 “ 259 


j ape at ALBERT P. RYDER 
Moonlight 


A boat alone on the high seas with a solitary skipper guiding its 
course over the waters. The moon is veiled with clouds, and the effect 
produced in this composition is exceedingly poetic and impressive. 


Height, 18 inches; length, 17 inches, 


— 73 
f eo (76 260 


er ROBERT C. MINOR 
j eee ae 


v 


A successful solution of a aideuk ar problem, wherein, with great depth 
and force of color, the artist has depicted an effect of night with nothing 
but a sheet of water illumined by the moon, whose light comes from 

. without the picture, relieving the all-pervading gloom. Some dark, mys- 
terious masses of trees on the sea-shore are imagined by the spectator, 
almost, rather than seen. Impressive tonal quality. 


Signed at the right. Height, 18 inches ; length, 24 inches. 
7 Oe 
2 
si » we 261 . } 
Hl Se 
he HENRY O. WALKER 
A Morning Vision 


A group of five figures. On the right of the composition is a young 
woman in terra-cotta tinted drapery upon whose shoulder leans a boy, 
nude but for a white cloth about his loins. Before these two are three 


angels or winged figures. Flowers fill the foreground, and a landscape 
beyond forms a classical and appropriate setting for the figures. The 
personages in this fine work are refined and spiritual in type, and the 
drawing and color evince great distinction of style. A purely imagi- 
native conception, the picture is executed with admirable academic real- 
ism, and possesses rare qualities of artistic thought and achievement. 
Awarded the Clarke Prize at the National Academy of Design in 1895. 


Saye ANA PSII ttn 
Signed at the right, Dated, 1895. waPfeight, 28 inch 28 inches ; length, 30 inches. 


oF a.” 262 
a9 GEORGE H. BOGERT 0 y, “he. 


Moonrise, Coast of Picardy 


Marine, with breakers coming in on the coast. The moon, high in 
the sky, casts its light on the waters. A fine sense of vastness prevades 
the composition, Beautiful in color and atmospheric in effect. A very 
fine example, 


Signed atthe right. Dated, 1891. Height, 30 inches; length, 45 inches. 


yy, | eo 263 
WYATT EATON 
| ee? ues 
i i Reverie 


A young woman in half-length, gowned in black, with white lace 
trimming on the square-cut bodice. The head is seen in profile, and the 
face is reflected in a mirror behind the figure. The color scheme is 
sober and restrained, and the work is remarkable for beauty of tone, mas- 
terly drawing, and simple modelling. A famous picture. 


Signed at the left. Height, 27 inches; length, 29 inches. 


ou 
as (ic 204 ; 
L ont Bs -SaChURen 


Madonna of the Sea 


The Madonna, in this important creation by Mr. Church, is seated 
on the sea-shore, with the Holy Child in her lap, and on either side of her 
is a kneeling angel with white robes and wings. The mother’s gown is 
delicate purple. Over her head, which, with its halo, is relieved against 
the wide expanse of water, is a flock of sea-gulls circling in graceful 
flight ; and others, in the foreground, on the sandy beach, pick their way 
about, or flap their wings in a bath in a poolof water left by the receding 
tide. The face of the Madonnais wistful and sweet ; and the composi- 
tion, very tender and beautiful in its color scheme, is filled with lofty 
sentiment. 


Signed at the right. Dated, 1898. Height, 47 inches; length, 36 inches. 


265 
\GEORGE INNESS 


i - oN 
q 1 a 
q ie net! A ite Morning at Montclair 
( Se 
[ Ve PA great nS. justly celebrated as one of Inness’s most remarkable 
id Rindsoiet A felled tree, branches, and uprooted stumps are seen in 
; the left foreground. Farther away, on the right, are some tall, slender 
trees with dead leaves still clinging to the branches. In the middle 
distance some buildings, and beyond, a wooded valley and hills. 
Over all a fine sky of blue with white clouds. A wonderfully truthful 
rendering of nature, distinguished and entirely veracious in color. 
Signed at the right. Dated, 1882. Height, 30 inches; length, 45 inches. 


we a 266 


: Pe % k SS: 
| a \ HENRY W. RANGER 
An East River Idy! * K 


The view point is in one of the side streets in the lower part of the 
city leading down to the East River. Brooklyn appears in the distance 
across the blue water; and the roadway, partly covered with snow, and 


the buildings on either side occupy the foreground. The effect is of | 
late afternoon sunlight, which lights up the upper stories of the houses 

on the left, and bathes the river and the walls and towers of Brooklyn 

with a warm and ruddy glow. The winter sky of blue shows orange- 

tinted clouds, and the smoke from a chimney is blown in picturesque 

forms across the right upper corner of the composition. The buildings 

on the right and the street are in shadow. Mr. Ranger has never signed 

a more effective picture than this, and it is characterized by his best quali- 

ties of color. 


Signed at the left. Dated, 1896. Height, 28 inches ; length, 36 inches. 


Saeed ” 
310° 267 
HOMER D. MARTIN... £ ght 


An Old Church in Normandy soe 


The moss-covered, weather-beaten church stands a little to the right 
of the middle of the canvas, with its finely proportioned roof and tower 
reflected in the water of a poolin the foreground. On the left, a road 
-and a wayside cottage. The sky is composed of warm white clouds, in 
horizontal formations, mingled with patches of blue. It is impossible to 
describe the majestic beauty with which the artist has invested this 
simple motive. The picture is wonderfully fine in tone, and is a superb 
example of the work of one of America’s greatest painters. 


Signed at the right. Dated, 1893. Height, 25 inches; length, 38 inches. 


Pb 00 a 268 ty aAyr 


jlLve oo: FULL 3 oc bom ( 
ayes . ee. JY re 


A life-sized figure, in three-quarters length, of a young ee who 
carries some stalks of wheat, with one hand pressed against her bosom, 
and in the other holds a water jug. In the shadowy distance appears a 
gleaner with a sheaf on her shoulders. The effect shows the warm tints 
of sunset. The face of the young woman reveals charming charac- 
teristics. Admirable in color. 


£ 


Signed at the left. Dated, 1882. Height, 50 inches; length, 30 inches. 


A 
i rt 
i 


, a y ' haat 


Ke 


Boe oe eee 


boo.” 


»~ eA. H. WYANT ¥f 
In the Adirondacks N S 


i » 

One of Wyant’s most celebrated and finest works. A stream, pro- 
ceeding from the rocks and woods of the middle distance, widens out in 
the foreground, in the shadow of the tall trees which grow on the banks 
at either side, and reflects their green foliage, as well as the sky.. An 
open space in the middle distance receives the light of the sun and con- 
centrates the interest of the composition. The sky of white and blue is 
exquisitely fresh and tender in color. This is one of the best of all of 
Wyant’s achievements, and one of the noblest of American landscapes, 


Signed at the right. Height, 37 inches; length, 50 inches. 


/ POU 


ey? & Me Me is Abed } 7 7 4 3 
; i ES ai . pw 

t. 4% 7 | 
- &. nse Morning 


Among the trees on a spill OS overlooking a wide valley is a herd of 
Jersey cows and a woman with a child traversing the wood on the way to 
the fields. The foreground is in shadow, and the deep, strong greens 
of the foliage are in contrast to the smiling beauty of the landscape be- 
yond, bathed in the light of the morning sun. The cows are painted in 
masterly fashion, and the picture is dignified and impressive in general 
aspect. It is naturalistic in conception, and the execution is broad and 
simple. Truth to nature and nobility of style are its prominent charac- 
teristics. Exhibited at Munich, 1885. 


Signed at the left. Dated, 1882-3. Height, 48 inches; length, 72 inches. 


AN ART ASSOCIATION, 


Vo ier sie 
ees MANAGERS, 


HOMAS E. KIRBY, 


Auctioneer. 


¥ / 
pe 


List of Artists Represented and 
> Their 


Work 


4 - 


List of Artists Represented and 


Their Work 


A’ BECKET, Maria J. C., . 
Massachusetts Coast 
Moonrise on the Swannanoa 
New Hampshire Woods 


BLAKELOCK, RatpH ALBERT, 
Early Evening 
Evening on the Sound 
-The Nymphs 
Moonlight 


BOGERT, GeorceE H., 
Autumn Morning, Plymouth, Mass. 
Sea and Rain 
Afternoon—Haarlem, Holland 
Morning at Haarlem 
A Showery Day near Delft, Holland 
Moonrise, Coast of Picardy 


BOUGHTON, GeorceE H., 
Divided 
BRIDGMAN, FReEpeErIcK A., 


A Lady of Constantinople 
My Pets 


BRISTOL, Joun B., 
Old Bridge, Upper Connecticut 


189 


CATALOGUE 
NUMBERS 


29 
108 
186 


Io 
I1o 


159 
229 


34 
83 
112 
170 
189 
262 


BROOKS, Marla, CATALOGUE 


NUMBERS 


“Very Careful”’ 28 
‘a Shy 125 
i} Bashful 241 
i BROWN, Joun G., 
| The Fruit Seller 6 
The Longshoreman’s Noon 175 
BRUSH, Grorce De Forest, 
Before the Battle 139 
The Indian Hunter 210 
BUNCE, W. GEDNEY, 
Morning in Venice | 23 
Venice 134 
Sunset, San Giorgio, Venice 251 
CHASE, Wittiam MERRITT 
East River 63 
A Fairy Tale 182 
CHURCH, FRreperick §&., 
Pandora 12 
“Who Are You ?” 17 
Sea Sirens 22 
White Swans and Pink Lilies 49 
Evening mi 
The Dance ry 
Una and the Lion 88 
Air OUR Fe 
Earth 120 
Water 121 
| “‘ Good-by, Sweetheart ”’ 156 
The Mermaid and the Sea Wolf 164 
St. Cecilia 171 
The End of Winter 176 
Twilight 193 
The Shepherdess | 199 
The Chafing-dish 205 


190 


CHURCH, Frepericxk $.— Continued, 
A Spring Song 
The Lion in Love 
Beauty and the Beast 
Madonna of the Sea 


COFFIN, W. A., 
Evening, Somerset Valley 
A Rainy Day 


COLMAN, SamuEt, 

Moonlight Near Rome 

Sunset at Amsterdam, Holland 
Rocky Farm in Autumn, Newport 
At Paradise, Newport | 


4 


COX, KENvon, 
May 
CRANE, Bruce, _ 
Evening After Rain 


CURRAN, CHARLES COURTNEY, 
The Old Straw Stack 
A Dream 
Music of the Waves in Fingal’s Cave 
Night 
Silent Night 
The Peris 


DAINGERFIELD, EL tiort, 
Christ in the Wilderness 
My Lady Rhododendron 


DAVIES, ARTHUR B., 
On the Road to the Enchanted Castle 


DE TUAAS, M. F. H., 
A Breezy Day on the Tyne 


DE HAVEN, FRank, 
Autumn Evening 
Igl 


CATALOGUE 
NUMBERS 


217 


222.0% 


227 
264 


44 
105 


132 


166 


254 


DENMAN, HERBERT, 
Psyche 


DESSAR, Louis PAUvL, 
Sheepfold at Night 
Evening in Picardy 
The Return to the Fold 


DEWEY, CuHaries MELVILLE, 
The Harvest in the Midlands 
An Autumn Pastoral 
Shadows of the Evening Hour 
Reflections 
Return of the Hay Boats 


DEWING, THomas W., 
A Lady in Blue 


DIELMAN, FREDERICK, 
La Chatelaine 
My Lady 


DOLPH, J. H., 
The Right of Possession 
An After-dinner Nap 


EARLE, LAwRENCE C., 
The Last of the Snow 


EATON, C. Harry, 
A Normandy Landscape 


EATON, Wyatt, 
Ariadne 
La Cigale 
Reverie 


FITZ, BENJAMIN RUTHERFORD, 
The Reflection 


FOSTER, BEn., 
“‘ Amid the Cool and Silence” 
The Lonely Road 


192 


CATALOGUE 
NUMBERS 


65 


37 
103 
231 


IIt 


FREER, FREDERICK W., 
Morning 


FULLER, GEorGE, 
j Bringing Home the Cow 
Lorette 


GAUL, GILBERT, 
Charging the Battery 


GIFFORD, R. Swat, 
Salt-works at Dartmouth 
GIFFORD, Sanrorp R.,. 
The Villa Malta 
Mount Katahdin from Lake Milnoket 
GRAY, HENRY PETERS, 
; The Origin of Our Flag 
GUY, SEyMovurR J., 
“ Look, Mamma !” 
The Orange Girl 
HAMILTON, Epcar ScupDER, 
Slumber 


HARPER, Wituiam Sr. JOHN, 
Autumn 


HOEBER, ARTHUR, 
The Road to the Sea 


HOMER, Winstow, 
Sunday Morning in Virginia 
Weather-beaten 


HOVENDEN, Tuomas, 
A Brittany Image Seller 


HOWE, Wi1u1aM H., 
In the Orchard 
Morning, Korten Hof Meadows 


HOWLAND, ALrrep C., 
Rue Sous Je Cap, Quebec 


193 


CATALOGUE 
NUMBERS 


237 


174 
268 


84 


197 


106 


128 


| HUNT, Wituiam Morris, eri an 


Spouting Whale 140 
INNESS, GEORGE, 
Montclair by Moonlight 28 
Moonlight 51 
Conway Valley 60 
Meadowland in June 66 
Sunset on the Passaic 87 
Summer in the Catskills 102 
Returning from Pasture, Milton 114 
Leeds, New York 133 
The Valley on a Gloomy Day 172 
Georgia Pines, Afternoon, 1886 ‘Bey 
Nine O’Clock 179 
Pine Woods, near Savannah 1gI 
The Moon at Night 203 
Landscape near Florence, Italy 228 
In the Catskills 239 
Winter Morning at Montclair 265 
A Summer Morning 270 


JOHNSON, Davin, 


Connecticut Landscape 40 
JOHNSON, Eastman, 
Puss in the Corner 202 


JONES, FRANcIsS COATES, 


The Little Visitor 78 
JONES, H. Boron, 

November 69 

The Road to the River 92 

A Late October Afternoon 147 

An Autumn Afternoon 183 


KENSETT, J. F., 
A Quiet Day, Manchester Beach 215 
194 


KOST, FREDERICK W., CATALOGUE 


NUMBERS 


Evening—Westport Point, Rhode Island 21 

Moonrise, Brookhaven, L. I. 117 

The Driftwood Gatherer 246 
LATHROP, W. L., 

A November Evening 48 

Twilight in Connecticut 124 
LOW, Wi H., 

The Portrait 70 

The Brookside 160 

The Harvest Procession 233 


McENTEE, JeErvIs, 
Autumn in the Catskills , 181 


McILHENNY, C. Morcan, 


Morning 188 
MACY, Wii &., 
/ The Meadow Brook | 157 
MARTIN, Homer D., 
Lake George 3 yr 
Westchester Hills ww 89 
A Mountain Brook w 104 
Trouville at Night 127 
Normandy Trees w” 178 
A Normandy Farm yo 218 
Autumn on the Susquehanna 226 
An Old Church in Normandy yw 267 
MILLER, Cuartes H., 
An Old Mill, Long Island 20 
The Farm 213 
At Stony Brook, Long Island 238 


MILLET, Francis Davis, 
After the Festival 13 
195 


a 


| . 
i ; 
| MINOR, Roserr C., CATALOGUE 


NUMBERS 
The Hunter’s Moon 52 
i The Close of Day 85 
q Twilight 98 
Nightfall 129 
Eventide 162 
i An Autumn Sunset : 198 
i Midnight 260 
| MOELLER, Louts, 
Bluffing 32 
A Doubtful Investment 152 
seat RViiae sie 204 
MORAN, THomas, 

A Dream of the Orient 33 
Morning on the St. John’s 154 

i MOWBRAY, H. Srppons, 
Arcadia 19 
| Idle Hours — 130 
Floréal 256 

MURPHY, J. FRANCIs, 

A Cloudy Autumn Day 4 
Sundown 47 
Under Gray Skies 123 
An Autumn Sunset 131 
The Deserted Farm , 155 
A Clump of Trees 209 
An Autumn Landscape 232 


NEWMAN, Roperr L., 


Madonna and Child . 25 
The Bird 135 
eh ihe Letter 142 
Christ Stilling the Tempest 192 
The Mystery 245 

NICHOLLS, Ryopa Homes, 
A Venetian Canal 195 


196 


NICOLL, J. C., 
| On Vineyard Sound 


OCHTMAN, Leonarp, 
Evening on the Mianus 


PARTON, ArrTuHuR, 
A Highland Home, Loch Lomond 
In the Month of May 


PARTON, ERNEsT, 
On the Arran 


PLATT, CuHartes A., 
A Spring Flood 
Clouds 


PROCTOR, A. PuHIMISTER, 
A Puma 


QUARTLEY, Arrtuvr, 
Morning—New York Harbor 


RANGER, HEnry W., 
Connecticut Woods 
New Jersey Oaks 
Morning at High Bridge 
Afterglow 
Woods at Trouville 
A Veteran 
A Connecticut Pasture 
A Nocturne 
An East River Idyl 


REHN, F. K. M., 
Springtime 
“‘ Where Waves and Moonlight Meet ” 
A Fisherman 


RICHARDS, W. T., 
Near Atlantic City 
Land’s End, Cornwall 


197 


CATALOGUE 
NUMBERS 


201 


82 


144 
153 


224 


244 
266 


II 
118 
207 


24 
185 


ROBINSON, THEODORE, “NUMBERS. 
Twachtman’s House 146 
Valley of the Seine from Givemy Heights 250 


RYDER, ALBERT P., 


Autumn Landscape 42 

The Little Maid of Acadie 62 

Charity 143 

Launce and his Dog 161 

The Sisters 214 

Moonlight 259 
RYDER, Puiatr P., 

Boys Playing Marbles 243 
SEARS, Sarau C., 

Romola 30 
SHIRLAW, WALTER, 

Water Lilies a 

Roses 79 

Among the Old Poets IOL 

The Sonnet 145 

Autumn 200 

The Kiss 242 
SHURTLEFF, R. M., 

Woods in Autumn 53 
SMEDLEY, Wituiam T., 

A Thanksgiving Dinner. 57 

One Day in June 136 
SMILLIE, Grorce H., 

A Long Island Farm 7 

Gray Autumn 224 
TARBELL, Epmunp C., 

Girl with Violin 54 
THAYER, Appotr H., 

Young Woman 90 

Roses 99 


198 


THOMPSON, Worpswortn, cite ch a 


NUMBERS 


Halt of the Diligence £5 
pry GN, “Dy -W., 

A May Morning 64 

The River, Evening 150 

Daybreak 219 

On the Seine 236 
TURNER, Atrrep M., 

The Prayer 27 
TURNER, C. Y., 

Althea 14 
ULRICH, Cuar tes F., 

In the Land of Promise II5 


WALKER, Henry O., 


The Boy and the Muse 58 

A Morning Vision 261 
WALKER, Horatio, 

In the Meadow 36 

Low Tide 61 

Cattle and Landscape 97 

A Spring Morning 149 

Return of the Flock 221 

A Rainy Day 235 
WEIR, J. ALDEN, 

Lengthening Shadows 163 
WELDON, C. D., 3 

Temple Court of Nikko, Japan 212 
WHITTREDGE, WorrTHINGTON, 

An Old House by the Sea 249 
WIGGINS, CARLETON, 

Evening, After a Rain 81 

Lowland Pasture 168 

After Wind, Rain 253 


199 


WILES, Irvine R., nines 


The Sonata 248 
WVYANT, ACH, 
An Irish Landscape 18 
Solitude i 50 
A Gray Day 56 
An October Evening 75 
Autumn in the North Woods 107 
Early Autumn : 151 
Gamekeeper’s Hut, Kerry, Ireland 158 
Driving Mists 169 
Autumn, Keene Valley 172 
A Cloudy Day 190 
Early Twilight 208 
A Cloudy Day, Keene Valley 234 


In the Adirondacks 269 


200 


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